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https://archive.org/details/cloudsOOofaristopharisrich 


THE CLOUDS 


OF 


ARISTOPHANES. 


WITH NOTES, 


BY 


6 C. FELTON, LL.D., 


LATE PRESIDENT OF HARVARD UNIVERSITY. 


SEVENTH EDITION, REVISED 


BY 


W. W. GOODWIN, 


ELIOT PROFESSOR OF GREEK LITERATURE IN HARVARD UNIVERSITY. 


BOSTON: 
JOHN ALLYN, PUBLISHER. 
1873. 





Entered according to Act of Congress, in the year 1861, by 


JOHN BARTLETT, = 


in the Clerk’s Office of the District Court of the District of Massachreetts. 


University Press, Cambridge: 
Stereotyped and Printed by Welch, Bigelow, & Co. 


s 


PREFACE. 


ARISTOPHANES was the son of Philippus, an Athenian 
citizen, belonging to the Cydathenzan borough and the 
Pandionian tribe. The dates of his birth and death are 
equally unknown. He is said to have been a mere youth 
when he first employed himself in writing comedy; and as 
his earliest piece, The Revellers, was brought out B. c. 427, 
the approximate date of his birth has been assumed as B. c. 
444, on the supposition that the words of the scholiast, 
σχεδὸν μειραχίσκος, designate about the age of seventeen.* 
His .last recorded representation in his own name was that 
of the Second Plutus, Β. c. 888, one year before the peace 
of Antalcidas, and in the fifty-sixth year of the poet’s life. 
It is stated in the Greek argument, that he resigned his two 
later pieces, the Cocalos and the Molosicon, to his son 
Araros, who had been introduced to the theatrical public as 
an actor in the Plutus. The probability is, that Aristo- 





* See note on line 530. 
(iii) 


΄ ᾿ 


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iv PREFACE. 


phanes lived but a few years more. The latest period 
assumed as the date of his death is B. c. 380. 

Aristophanes, very early in life, came into violent con- 
flict with the demagogues, who had risen to power after 
the death of Pericles. One of the most noted popular 
favorites of the times was Cleon, who is known to us, not 
only by the witty exaggerations of the comic poets, but 
by the accurate historical delineation of Thucydides. For 
about six years of the Peloponnesian war, this brawler 
stood at the head of the party opposed to peace. He was 
a man of low origin, a tanner by trade, but well qualified 
by his natural shrewdness, his impudence, his power of 
coarse invective against better men, his violent and cruel 
disposition, his fluent speech and vulgar manners, to be the 
favorite of the populace. When Mitylene surrendered to 
the Athenian forces, B.c. 427, he was the author of a 
decree that all the adult males should be put to death, and 
the women and children sold into slavery; but the sober 
second thought of the people saved them from this great 
crime, and the decree was rescinded the next day. With 
this-mighty representative of the worst portion of the 
Athenian democracy Aristophanes commenced a warfare, 
in which he put forth all the energies of his wit and his 
genius. At the Dionysiac festival of the following spring, 
p.c. 426, he brought out his Babylonians, in which he 
assailed Cleon, and boldly satirized the democracy. ‘This 
was a daring attempt, and Cleon was not long in devising 
measures for vengeance. It seems that the father of Aris- 
tophanes possessed estates in AZgina and Rhodes, and that 
affairs of business frequently called him thither. Possibly, 


ὡς PREFACE. Vv 


therefore, the youth of the poet may have been passed 
away from Athens.* These circumstances were seized 
upon by Cleon, and made the basis of a prosecution 
for incivism,—a ξενίας γραφή; ---- which, had it been suc- 
cessful, would have silenced the terrible wit of the poet 
for ever. 

The comedy of The Knights was brought upon the stage 
B.c. 424. The corruptions of the ecclesia are exposed in 
this piece, and the character of Cleon, who appears as one 
of the persons of the drama, is drawn with wonderful 
power. He is again held up to ridicule in The Wasps 
(exhibited B. c. 422), a drama which gives a masterly and 
‘most amusing picture of the Athenian courts, and the pas- 
sion of the people for litigation. These are the principal 
passages in the warfare between the poet and the dema- 
goguc. 

Aristophanes is said to have written above sixty come- 
dies, of which eleven are extant. Ten of these belong to 
the old comedy, and one, the Plutus, to the new. 

Besides their. poetical merits, the works of Aristophanes 
are of great historical value. “He was a conservative, 
strongly opposed to the political, literary, and moral tenden- 
cies of his age. In the delineation of characters, he used 
the unscrupulous exaggerations which were common to all 
the writers of the ancient comedy. The names of promi- 
nent men, whether in politics, philosophy, or poetry, were 


brought forward with the most unhesitating freedom, and 


* Bode thinks he may have been born abroad. Geschichte der 


Hellenischen Dichtkunst, Vol. III. Part II. p. 219 
αἽ 


vi PREFACE. 


their conduct was handled with a severity that showed as 
little regard for individual rights and the claims of private 
character as is exhibited by the modern political press.* 
To the credit of Aristophanes it must be said, that, with few 
exceptions, the individuals selected by him for attack were 
persons deserving the reprobation of honest men. The 
principal exceptions to this remark are Euripides and 
Socrates, especially the latter. How far the bitter sarcasms 
upon Euripides were justified by the influence of some of 
that poet’s writings upon the morals of the age, it is impos- 
sible now to determine with a satisfactory degree of proba- 
bility. 

The conflict waged by Aristophanes against the sophists 
was one of no Jess importance than that against the dema- 
gogues. The comedy of The Clouds, in which the main 
points of the contest are embodied, is, for many reasons, 
one of the most interesting remains of the theatrical litera- 
ture of Athens. Though, like every other comedy, its wit 
turns upon local and temporary relations, it has, what is not 
common to every other comedy, a moral import of per- 
manent value. It was written at a time of great changes 
in the national character of the Greeks, and bears marks 
of its author’s determined opposition to the new ethical and 
philosophical views that were eating into the very heart of 
the national virtues. The Peloponnesian war had for 


eight years been desolating the fair fields of Greece; a war 


* Fora discussion of the relation between Aristophanes and the 
most eminent of his contemporaries, see Rotscher’s Aristophanes und 
sein Zeitalter, pp. 212-294. 


PREFACE. Vil 


in which, whatever party gained the victory, the losses and 
the-woes of defeat fell upon Greeks; let success alight 
where it would, its effects were disastrous to the Hellenic 
race. One public calamity usually accompanies another ; 
and when the ancient virtue of Athens was unnerved, the 
sophists flocked from every side to batten on the vices of 
that giddy-paced capital. No class of men known to his- 
tory have ever been so worthy of the execrations of the 
world as the Greek sophists of that age, except, perhaps, 
the philosophers — those birds of evil omen — whose boding 
cries foretold the storms of the French Revolution. 

‘A clear-headed and honorable citizen must have looked 
upon the unprincipled teachings of these reprebates with 
abhorrence, and, if he were a man of genius, he would 
task his powers to the utmost for the purpose of putting 
down the moral nuisance. In modern times, such a man 
would resort to the press as the mightiest engine to aid 
him in waging the holy warfare. In ancient Attic days, he 
resorted to the comic stage. The freedom of the old comic 
theatre, before the bloody reign of the Thirty, was to the 
Athenians what the freedom of the press is to the modern 
constitutional states; and the restraints imposed upon the 
comic theatre by that formidable oligarchy were precisely 
the same thing as the censorship of the press is under 
modern despotisms. Aristophanes was the great master of 
ancient comedy, and, when he saw the progress the sophists 
were making towards the ruin of his country’s morals and 
manners, let loose upon the offenders the gleaming shafts of 
his angry genius, — 


Δεινὴ δὲ κλαγγὴ γένετ᾽ ἀργυρέοιο θιοῖο. 


Vill PREFACE. 


Before the comedy of The Clouds was produced, Aris- 
tophanes had brought out The Revellers, The Babylonians, 
The Acharnians, and The Knights. Two of these, The 
Acharnians and The Knights had been honored with the 
first prize. B.C. 424, he appeared with ‘The Clouds; but, 
notwithstanding the distinguished merits of the piece, — in 
the author’s opinion it was the best he had ever written, — 
the judges awarded the first prize to. Cratinus, and the 
second to Ameipsias, and only the third honors were de- 
creed to Aristophanes. The following year he brought for- 
ward the Second Clouds, in which he complains with 
humorous bitterness of the injustice that had been done 
him, and affirms, that, the sentence of the judges to the 
contrary, notwithstanding, this comedy was the most skil- 
fully constructed of all his pieces. Besides the ingenious | 
compliments he pays to the Attic audience, he makes his 
chorus utter various whimsical threats to deter the judges 
from committing a second blunder.* 

Not only the base principles of the sophists are exposed, 
but their absurd and affected language is ridiculed with 
masterly effect. The oddities of manner by which they 


undertook to impose upon the popular credulity, and set 


* Fritsche, however, is of opinion that the first Clouds was 
materially different from the play as we now have it; and that 
the latter, written to bring contempt upon Socrates, was never 
“represented, in consequence of a-reconciliation brought about be- 
tween the poct and the philosopher. See Questiones Aristophanes 
(De Socrate Veterorum Comicorum Dissertatio, pp. 99, seqq.). The 


arguments for this opinion, though ingenious, are not conclusive. 


PREFACE. ΙΧ 


themselves apart from the rest of the world, are held up to 
scorn and contempt. But in this piece the poet’s satire by 
no means hits the sophists alone. His arrows fly in every 
direction, — πάντη ἀνὰ στρατόν, ---- ἀμ strike at public and 
private vices, wherever found. The peculator, the dema- 
gogue, the coward, the libertine, wore no armor thick and 
hard enough to shield them from the fatal dart. The pom- 
pous poet, who substituted forced and unnatural phrases and 
extravagant imagery for simplicity of thought and clearness 
of expression, thereby corrupting the public taste, — the 
musician, who adopted an effeminate style, instead of the 
ancient airs that roused the souls of the heroes of Marathon 
like the sound of a trumpet,—and the dancer, who set 
aside the modest movements of an earlier and better age, to 
introduce the licentiousness of the Cordax, thereby melting 
away the manly virtues of the youthful generation, — all 
felt the keen edge of that satire, whose temper still keeps © 
its fineness, and whose brilliancy is scarcely dimmed by the 
rust of more than twenty centuries. 

It is very unfortunate for the fame of Aristophanes, that 
he selected Socrates as the type and representative of the 
sophists. Little could he imagine the effect this was destined 
to have upon his reputation for many centuries. Little could 
he foresee that the stories repeated by /Elian would be 
allowed to tarnish his name, until the learning and sagacity 
of modern critics should redeem it from the bitter reproach 
of having caused the death of the noblest man of his age. 
We cannot help regretting and condemning the poet’s mis- 
taken choice of Socrates for the chief personage in the 


play; We must censure the wantonness of the attack upon 


Χ ᾿ PREFACE. 


his person, making a good and great man the object of his 
overwhelming ridicule: but no ground exists for the cal- 
umny, that he was bribed by the enemies of the philoso- 
pher; it is impossible that he should have been influenced 
by the malicious prosecutors, Anytus, Melitus, and Lycon ; 
and there is not much reason to suppose that the represen- 
tation of the comedy had any further effect upon the repu- 
tation of Socrates than to connect, in the popular mind, 
some ludicrous associations with his name, and perhaps to 
strengthen the prejudices fomented against him by his ene- 
mies; an effect certainly to be lamented, but not to be 
charged upon the poet as a proof of settled malignity, and 
of the diabolical intent to bring the greatest and best of the 
Athenians to the hemlock. 

It must be remembered, too, that Socrates was not to all 
of his contemporaries what he is to us. He was charged 
by some with the common vices of his age; from this 
charge, however, the Memorabilia of Xenophon amply vin- 
dicates him.. There are three principal delineations of 
Socrates which have come down to us. In an historical 
point of view, the Memorabilia of Xenophon contains the 
most important and authentic. The principles of the great 
teacher are, no doubt, here recorded with fidelity. The 
Socrates of the Platonic Dialogues probably unites with the 
main features of a truthful representation many fictitious 
details. He is, in many points, to be regarded as a dra- 
matic character, through whom Plato intended to convey 
his own opinions, without, however, putting into his mouth 
any sentiments strongly at variance with the well-known 


opinions of his teacher. Looked upon in this view, the 


PREFACE. ΧΙ 


Socrates of Plato is one of the most original and masterly 
creations of genius; but it is impossible to draw the line 
here between the Dichtung and the Wahrheit. The third 
representation is that which has been handed down by the 
comic poet, —the Socrates of the ancient comedians. ‘This 
character is partly historical and partly fictitious. That 
Socrates really occupied himself with the investigations of 
the physical philosophers, in the early part of his life, and 
availed himself of the teachings of the sophists, is undoubt- 
edly true; but he renounced and opposed them, the moment 
his piercing intellect discerned the hollowness of their pre- 
tensions.* His manner, however, if not his character, was 
marked by peculiarities that naturally laid him open to the 
sarcasms of the comic poets and the attacks of his enemies. 
The singularity of his appearance and figure, the profound 
abstraction into which he occasionally fell, in spite of his 
otherwise eminently practical character, and notwithstand- 
ing the fearless bravery with which, when occasion called, 
he met the dangers of war, and the still more formidable 
dangers of the “ardor civium prava jubentium,” as when 
he happened to be president for the day of the assembly 
that tried the generals after the battle of Arginous, held 
out great temptations to the unscrupulous satirists who pos- 
sessed the public ear. It really seems as if he occasionally 


“ut an antic humor on,” for the purpose of making people 


* This subject is ably handled by Siivern, in his paper on The 
Clouds, translated by W, R. Hamilton, F. R. §.; by Wiggers, in his 
Life of Socrates; and by Meiners, in the Geschichte der Wissens- 
chaften, Vol. II. pp. 346, seqq. 


Sd 


ΧΙ PREFACE. r 


opcn their eyes and wonder. Such a whimsical incident as 
that recorded of his demeanor at the siege of Potidea —his 
standing all night in a phrontisiie reverie, until sunrise the 
next morning, drawing upon himself the curious and laugh- 
ing eyes of the soldiery — certainly would lower the 
dignity of a philosopher in any age, and excite the ridicule 
of a people much less quick to see absurdities than the 
ancient Athenians. His way of asking questions — that 
searching irony on which he plumed himself not a little — 
must have been maddening to the disputatious little men 
whom he was so fond of encountering and disarming. The 
outward courtesy which veiled his keen and cutting inter- 
rogatories made them only the more provoking and hard to 
bear. The most persevering question-asker of modern 
times is but a small annoyer, compared to the master of 
Attic dialectics, who went on with a strain of remorseless 
irony, until the victim sunk under the inevitable reductio ad | 


absurdum.* 


* Besides these facts, it must be remembered that Socrates spent 
his time, not in the official service of the state, but in waadering 
about the streets and public places of the city, or discoursing with 
artisans in the workshops. He was followed by crowds of listeners, 
who attached themselves to him, some for the sake of being instructed 
by his wisdom, others drawn by the attractions of his incomparable 
wit. His wife and children were left in a great measure to them- 
selves ; for, with the spirit of a genuine Greek, Socrates placed the 
cares and duties of domestic life in the background, at least as com- 
pared with modern Christian views of the duties involved in the rela- 
tions of home. Yet, in this matter, Socrates acted on a deliberately 
formed determination to consecrate his life disinterestedly to the 


teaching ot the truth. His conduct may not inaptly be compared tg 


PREFACE. ΧΙῊ 


At the time when Aristophanes composed The Clouds, 


no doubt Socrates was generally regarded by the comic 





that of Howard and Whitefield. It would seem from the testimony 
of the ancients,.-that Xanthippe had a keener -sense than most of her 
countrywomen of the natural rights of her sex, and was not exactly 
pleased with the philosophic manner in which her lord and master 
spent his time. Some modern scholars have attempted to vindicate 
her from the charge of being a common scold, which has made her 
name a by-word. They have shown satisfactorily that such anecdotes 
as that of her throwing a vessel of water upon the head of Socrates, 
and his reply, that we must always expect rain after thunder, — of 
her upsetting the table, when he brought home an unexpected guest 
to dinner, —and a good many other like specimens of termagancy, 
are the gossiping inventions of later writers. The most favorable 
decision we can adopt, however, upon a candid consideration of all 
the circumstances of the case of Xanthippe, is, that she did seictimes 
‘scold, but that it was pro causa. 

Among the philosophers of the later Peripatetic school, the charac- 
ter of Socrates was greatly maligned. Some of the Christian fathers 
unscrupulously adopted the calumnies of his enemies, and, apparently 
thinking that justice towards a mere heathen was not a Christian 
virtue, sometimes very absurdly exaggerated them. heodoret 
(Sermo XII.), in contrasting the virtues of pagan philosophers with 
a Christian life, gives a pretty accurate description of Socrates. 
““ Σωκράτης τῶν φιλοσόφων ὃ -Kopudatiog, Kal τοῖς γυμνασίοις Kal τοῖς 
ἐργαστηρίοις διαλεγόμενος διετέλει, .... καὶ ποτὲ μὲν ἐν ἄστει διέτριβε, 
ποτὲ δὲ εἰς Πειραῖα κατιών, τὰς πομπὰς ἐθεώρει, καὶ τοῖς ὁπλίταις δὲ 
ξυνταττόμενος, καὶ ἐν Ilotiaig καὶ év Δήλῳ [mistake for Δηλίῳ] παρε- 
τάττετο᾽ καὶ μὲν τοι καὶ εἰς ξυσσίτια ἀπιών, ἀνείχετο καὶ ’ApLoTOgavous 
κωμωδοῦντος καὶ ᾿Αλκιβιάδου κωμάζοντος, καὶ ἐς θέατρον ἀναβαίνων, 
ξυνεθεᾶτο τῷ δήμῳ. 

But he goes on to charge him with intemperance, ill-temper, and 


= > 
licentiousness, and vepeats the absurd story, that Socrates had two 
B 


XIV PREFACE. 


pocts only as the most sophistical of the sophists; he was 


their frequent associate, and carried their argumentative 





wives at once, Xanthippe-and Myrto, with whose quarrels he was 
accustomed to amuse himself. ‘“ Atra: δέ, συνάπτουσαι μώχην πρὸς 
ἀλλῆλας, ἐπειδὰν παύσαιντο ἐπὶ τὸν Σωκράτην ὥρμωνω διὰ τοῦτο μηδέποτε 
αὐτὰς μαχομένας διακωλύειν, γελᾶν δέ, καὶ ἀλλήλαις καὶ αὑτῷ μαχομένας 
ὁρῶντα. This is undoubtedly a graphic description; but it has not 
the slightest foundation of fact. Myrto was a daughter of Aristides, 
to whom, in her poverty, Socrates had rendered assistance. Her age, 
if nothing else, gives the lie to the patristic scandal. Luzac, how- 
ever (De Socrate Cive, p. 7), thinks that Myrto, whom he describes 
as Aristidis Justi sanguine prognatam, was the first wife of Socrates ; 
but this opinion seems unsupported by any sufficient authority. 

The consenting voices of succeeding generations have pronounced 
the character of Socrates to be the highest and purest of all antiquity. 
The trifling foibles, if foibles they were, which laid him open to the 
ridicule of the comic poets, have had no effect in diminishing the 
reverence with which all good men consecrate his memory. The uni- 
versal opinion is well expressed by Meiners. “He is distinguished 
from many of the most celebrated. men by the fact, that he appears 
the more worthy of reverence the more thoroughly he is known and 
the more deeply we penetrate into his life and character..... When 
we consider how degenerate philosophy had become when Socrates 
discovered the truth, and how corrupt the people among whom he 
taught heavenly wisdom, not only without pay, but in the midst of 
incessant persecution and danger of death, it is difficult not to believe 
that he was enlightened and formed by a higher spirit, or, at least, 
that he was sent by Providence exactly at the time when the people 
most needed such a teacher. .... Socrates not only taught virtue, 
but practised it; and his whole life was purer and freer from faults 
than his philosophy from errors. In all Greek and Roman antiquity, 
I know of no one whose conduct was so irreproachable and worthy 


Pre , , 
of imitation, and whose character was so complete in all respects, as 


PREFACE. XV 


style into other than the sophistical circles. It is far from 
wonderful that the poet had not yet learned to distinguish 
between him and them, that he still considered Socrates to 
be the very perfection of the sophistical character, and that 
he was led into the mistake of holding up to reprobation 
the man whose firmness and wit, whose clear-seeing judg- 
‘ment, comprehensive intelligence, and extraordinary genius 
were destined to work mightily towards the same end — the 
overthrow of the sophists— which the poet himself had so 
deeply at heart. It must be remembered, too, that the trial 
and execution of Socrates did not occur until nearly twenty- 
five years after the representation of The Clouds, —that 
neither Plato nor Xenophon, though they alluded to the 
farcical representation of The Clouds, made any important 
charge against the poet, —and that Aristophanes and Soc- 
rates, there is some reason to believe, were on friendly, if 


not intimate, terms during the interval. We know that 





that of Socrates. This sage was not only elevated above all the 
vices of his contemporaries, but, we may even say, almost above all 
the weaknesses of his race..... His wife, Xanthippe, paid him a 
tribute which probably but few women could have paid their hus- 
bands without flattery, and which requires some reflection to compre- 
hend its whole extent. Xanthippe said of her husband, that he al- 
ways had the same aspect, in coming in and in going out.” Meiners, 
Geschichte der Wissenschaften, Vol. II. pp. 346-470. 

Some writers have ventured to compare Socrates with Jesus of 
Nazareth. But noble as the philosopher appears among the great 
men of antiquity, the circumstances of his life make the comparison 
not only tasteless and daring, but impious toward the unspeakable 
excellency of the Saviour of mankind. 


ΧΥΙ PREFACE. 2 


they were sometimes together at the symposia which Plato 
and Xenophon have immortalized. At least, they are both 
represented by Plato as taking part in the discussions of 
the Banquet. What must have been the conversation of a 
supper-party made up-of such men as Socrates, Plato,. 
Xenophon, and Aristophanes! What brilliant wit and 
keen repartee then shot with electric speed from guest to 
guest! What splendor of language, what depth of thought, 
what beauty of imagery, what overflow of poetic illustra- 
tion, what play of frolic fancy, sparkled round the festive 
board, outsparkling the Grecian wine! 

The greatness of the genius of Aristophanes is not gen- 
erally appreciated, and the value of his comedies, as illus- 
trations of the political antiquities, the life, morals, and 
manners of Athens, is not fully understood. The truth is, 
we are indebted to him for information upon the working 
of the Attic institutions, which, had all his plays been lost, 
we should have vainly sought for in the works of other 
authors. With what boldness and vigor does he sketch that 
many-headed despot, the Demos of Athens! With what 
austere truth does he draw the character of the Athenian 
demagogue, and in him the demagogue of all times! How 
many rays of light are poured from his comedies upon the 
popular and judicial tribunals, — the assemblies in the 
Pnyx, the Senate, and the Heliastic courts! No intelligent 
reader can doubt that Aristophanes was a man of the most 
profound acquaintance with the political institutions of his 
age; no reader of poetic fancy can fail to see that he pos- 
sessed an extraordinary creative genius. It is impossible 


to study his works attentively, without feeling that hia 





PREFACE. xvii 


was one of the master minds of the Attic drama. The 
brightest flashes of a poetical spirit are constantly breaking 
out from the midst of the broadest merriment and the 
sharpest satire. An imagination of endless variety and 
strength informs those lyrical passages which gem his 
works, and are among the most precious brilliants of the 
Greek language. In the drawing of characters, his plays 
exhibit consummate skill. The clearness of his concep- 
tions, the precision of his outlines, the consistency with 
which his personages are throughout maintained, cannot fail 
to impress the reader with the perfection of his judgment, 
and the masterly management of the resources of his art. 
His manifold and startling wit has been surpassed neither 
by the myriad-minded Shakspeare nor the inimitable Mo- 
liere. He had the inestimable advantage, too, of writing 
in a language which is undoubtedly the highest attainment 
of human speech; and all the rich varieties and harmonies 
of this wondrous instrument he held at his supreme com- 
mand. Its flexibility under his shaping hand is almost 
miraculous. The very words he wants come, like beings 
instinct with life, and fall into their proper places at his 
bidding. At one moment he is revelling in the wildest 
mirth, and the next he is sweeping through the loftiest 
region of lyrical inspiration, but the language never breaks 
down under his adventurous flight. 

But it is not to be denied that Aristophanes is often 
coarse and indecent. Some of his plays are quite unfit 
to have.a place in any scheme of classical reading. This 
is not to be pardoned to the age im which he lived, nor 


to ihe men for whom he wrote; coarseness and indecency 
: B* 


ΧΥΠΙ PREFACE. 


are essentially base; they always soil and degrade the lit- 
erature into which they are admitted. Still, it is plain that 
Aristophanes was less offensive than his compeers of the 
comic theatre; an Apollo among the Satyrs of the Lenzan 
festival. Nor would he suffer, if placed side by side with 
the comic writers of any other age; compared with nearly 
every old English writer for the comic stage, he is harmless 
and almost pure. An age which has studied with fresh- 
ened ardor the elder drama of England, which calls for 
edition after edition of Ben Jonson, and bears without a 
murmur the abominations of Beaumont and Fletcher, can 
have but little fault to find with the Hellenic freedoms of 
Aristophanes, who wrote for a theatre to which women 
were not admitted. The Attic drama—at least the 
comedy, for with regard to tragedy the question is not 
settled — never felt the refining influence which the so- 
ciety of women exercises over the character and works 
of man. 

The Clouds, however, is one of the three or four pieces 
of Aristophanes which are least tainted with the universal 
plague. Nothing, therefore, has been omitted from the text 
of this edition, as but little danger is apprehended to the 
morals of young men from a few freaks of an old Athe- 
nian’s gamesome imagination, to be interpreted only by an 
assiduous use of the grammar and lexicon. Mr. Mitchell 
has expurgated his Clouds, by leaving out all the objectiona- 
ble passages, —an exercise of editorial power not very 
complimentary to the student of the drama of Aris- 
tophanes. 


The text of this edition of The Clouds is printed from 


38: 


PREFACE. xix 


Dindorf’s Poete Scenici Greci. In some few ‘passages, 
the readings of Hermann have been preferred. In the 
preparation of the Notes, the labors of others have been 
freely used, particularly the elegant commentaries of that 
eminent Hellenist, Mr. Mitchell, whose editions of the sep- 
arate comedies, notwithstanding occasional errors in minute 
points of Greek Grammar, are an honor to English scholar- 
ship. Bothe’s edition has been found valuable in many 
respects; though his explanations are sometimes fanciful, 
and the liberties he has taken with the text are often rash, 
and his conjectures indefensible. 

The select tragedies edited by President Woolsey of 
Yale College have done not a little to awaken and extend 
a taste for the works of A%schylus, Sophocles, and Eurip- 
ides. It is hoped that the new and engrossing duties of 
the office which he now fills, with so much benefit to the 
College, will not withdraw him from the favorite studies 
of his youth. The present comedy is offered to the lovers 
of the classic theatre, as an afterpiece to those excellent 


performances. 
ΟΣ 


CAMBRIDGE, January, 1848. 


A few additions have been made to the notes and illus- 
trations of this edition. Some of the materials have been 
drawn from the editor’s personal observations in Greece: 
others are drawn from the curious analogies of the follies 


xx PREFACE. 


and impostures flourishing in the present day with those 
so wittily and effectively handled by the poet. The excel- 
lent edition of the Clouds by Theodor Kock has been con- 
sulted, and valuable remarks have occasionally been taken 
from his Commentary. 
C. C. Ὁ 


CaMBRIDGE, June, 1857. 





PREFACE 


TO THE FOURTH EDITION. 


In this new edition of the Clouds the commentary has 
been revised, corrected, and in some instances enlarged. 
An Appendix to the Notes has been added, containing refer- 
ences to Professor Goodwin’s “ Syntax of the Moods and 
Tenses of the Greek Verb,” —a work which has already 
taken its place among the most valuable aids to the student 
in acquiring a knowledge of the refinements of the Greek 
language. 

I have seen no reason to change my opinion upon the 
general character of the poet and the object of the Clouds. 
Perhaps the view presented in the Preface to the first 
edition, which I have allowed to stand, upon the moral 
worthlessness of the Sophists as a body, is too general 
and unqualified. They probably differed much from each 
other in doctrines and aim. Some of them were not only 
cultivated, but virtuous men. Others, however, and par- 
ticularly those whom Socrates was in the habit of refuting, — 
the men who denied the existence of a fixed and unchange- 
able basis for the distinction between good and evil, right 
and wrong, truth and falsehood, honor and dishonor, — cor- 


XXil PREFACE. 


respond to the picture I have drawn of them. On the whole 
subject, I refer the student to the very able and dispassionate 
chapters of Grote, upon Socrates and the Sophists. I do 
not wholly agree with him, especially when he seems to 
extenuate the judicial crime of the Athenian people in 
putting Socrates to death. But the views of so profound 
and learned a thinker are always instructive, even when 
they appear to be wrong. If they fail to convince us, they 
at least should be allowed to moderate the confidence which 


we are apt to place in our own judgment. 


C. C. FELTON. 


CaMBRIDGE, 1861. 


In the sixth edition, many misprints which still remained 
ia the Greek text, and some slight verbal errors in the notes, 
have been corrected. Some changes in the text have been 
made, chiefly by restoring the readings of the best manu- 
scripts in the place of those of less authority. This has been 
done especially in vss. 24, 296, 367, 493, 824, 1277, 1398, 
1466, 1506, 1507. A few new passages have been inserted 
in the notes, but always enclosed in brackets. The metrical 
table, which must have accidentally escaped correction in 
the proof of the first edition, has been carefully revised, and 
numerous omissions therein have been supplied. 


W. W. GOODWIN. 


CAMBRIDGE, October, 1870. 


ΜΡΙΣΤΟΦΑΝΟΥ͂Σ NEGEAAI. 





ΡΝ 


ΕΑ TOT APAMATOS ΡΟΣ ΓΑ, 


ΣΤΡΕΨΙΑΔΉΗΣ. ΔΙΚΑ͂ΙΟΣ ἍΟΙΟΣ. 
ΦΕΙΔΙΠΠΙΖΔΉΗΣ. AAIKOZ AOTOS. 


OEPATIQN STPEWVIAAOL. ΠΑΣΙΑ͂Σ, δανειστής.- 
MAOHTAI ΣΩΚΡΑΤΟΥ͂Σ. AMINIAS, δανεισίής. 
ΣΩΚΡΑΤΗΣ. MAPTTS. 

ΧΟΡΟΣ NEGEANN. _XAIPEDQN. 





ὙΠΌΘΕΣΙΣ. 


e - ° ~ , "“ 
To δρᾶμα τὸ τῶν Negelov χατὰ Σωχράτους γέγραπται τοῦ 
, > Ff «Ἡ - ᾿ " 3 , 
φιλοσόφου ἐπίτηδες ὡς χκαχοδιδασκαλοῦντος τοὺς νέους 4ϑηνησι, 
τῶν ,πωμικὼν πρὸς τοὺς φιλοσόφους ἐχόντων τινὰ ἀντιλογίαν " 
οὐχ, ὡς hat δι᾽ ᾿Αρχέλαον τὸν Π]ακεδόνων aos ὅτι προὔ-- 
κριγεν αὐτὸν ᾿Αριστοφάνους. ὭὋ χορὸς δὲ ὃ κωμικὸς εἰσήρχετο 
> 3 , ~ ~ , a ᾿ τ τ 
ἐν τῇ ὀρχήστρᾳ τῷ νῦν λεγομένῳ λογείῳ. Καὶ οτε μὲν πρὸς τοὺς 
c . ’ > = e io uk ot ᾿ 3 ’ 
aeons Gealey eres tas oi σκηνὴν as ote δὲ ἀπελϑόντων 
τῶν ὑποκριτῶν τοὺς ἀναπαίστους Oust Siet, πρὸς τὸν τον ἀπε- 
στρέφετο " καὶ τοῦτο ἐκαλεῖτο στροφή. Ἦν δὲ τὰ ἰαμβεῖα τε-- 
, 3 ι > 2 , , , 
τράμετρα. Εἶτα τὴν ἀντίστροφον unodortss, πάλιν τετράμετρον 
> , 3 Π ~ , ᾿ ἘΞΞ ~ 
ἐπέλεγον ἴσων στίχων. Ἣν δὲ περὶ τὸ πλεῖστον is. Εκαλεῖτο 
. ~ [1] ,ὔ - ~ > ~ 
δὲ ταῦτα ἐπιῤῥήματα. Ἢ δὲ ὅλη πάροδος tov χοροῦ ἐκαλεῖτο 
, 2 Oa - - 
παράβασις. ᾿Αριστοφάνης ἐν Innevow, 


Ἦν μέν τις ἀνὴρ τῶν ἀρχαίων κωμῳδοδιδάσκαλος, ὃς ἡμᾶς 
Ἠνάγκαζε λέξοντας ἕπη πρὸς τὸ ϑέατρον παραβῆναι. 


« c c 


4 APISTO®ANOTS, NEMEAAI. 


AAA Im. 


. 3 , , κ ' δι 2 
Φασὶ τὸν “Αριστοφανην γραψαι τὰς ἹΝεφέλας ἀναγκασϑέντα 
πον, (Ὁ ΄ \ , c ' ~ Pf ἘΠ 
UNO - ἄνυτου χαι Meéijtov, Uva διασκέψαιντο JEOLOL τινὲς ELEY 
> = ΄ 3 3 - τ or 
᾿Αϑηναῖον κατὰ Σωχράτους axovortes. Πυλαβοῦντο γὰρ ow 
΄ 
> ΄ ΄ x 2 
πολλοὺς εἶχεν ἐραστάς, καὶ μάλιστα τοὺς περὶ Α«λκιβιάδην, ov 
) - ‘ ~ x 4 
καὶ ἐπὶ τοῦ δράματος τούτου μηδὲ νικῆσαι ἐποίησαν τὸν ποιητήν. 
« ‘ , , ) - - ΄ ’ 
Ο δὲ πρόλογός ἐστι τῶν Ἱγεφελῶν ἁρμοδιώτατα καὶ δεξιώτατα 
ΓΝ: , ! 9 » 3 ΄ \ 
συγκείμενος. Πρεσβυτὴης yoo ἔστιν ἄγροικος - ἀχϑόμενος παιδὲ 
> ~ ῃ 2 a ' 
ἀστικοῦ φρονήματος γέμοντι καὶ τῆς εὐγενείας εἰς πολυτέλειαν 
> c ~ 3 ~ , 3 ὃ 
ἀπολελαυχύτι. “H γὰρ τῶν «λκεμαιωνιδὼν οἰκία, ὁϑὲν ἣν τὸ πρὸς 
- " « > ~ co c , 
μητρὸς γένος ὁ μειρακίσκος, ξξ ἀρχῆς, ὡς φησιν Πρόδοτος, τε-- 
΄ > ty ? \ > 
ϑριπποτρόφος yy, καὶ πολλὰς ἀνῃρημένη νίκας, τὰς μὲν Ολυμ- 
ν᾿ ~ 315, ~ ’ . , 
πίασι, τὰς δὲ Πυϑοῖ, ἐνίας δὲ Ισϑμοὶ καὶ Ἱγεμέᾳ καὶ ἐν ἄλλοις 
> ~ > ~ 3 c - c 3 " τ a 
ἀγῶσιν. Εὐδοκιμοῦσαν οὖν ὁρῶν ὁ νεανίσκος uméxhive πρὸς τὸ 
3 ~ ® td 
ἤϑος τῶν πρὸς μητρὸς προγόγωνγ. 


AAA LZ: 


’ , guests ’ 
Πρεσβύτης τις Στρεψιάδης" ὑπὸ δανείων καταπονούμενος διὰ 
ΠῚ ~ ~ , , c 
τὴν ἱπποτροφίαν tov. παιδός, δεῖται τούτου, φοιτήσαντα ὡς TOY 
= , = \ c , >” , an Ὁ 58 
Σωκράτην μαϑεῖν τὸν ἥττονα λόγον, εἴ πὼς δύναιτο τὰ ἄδικα ᾿ 
Ξ Ξ ~ 4 , ~ : ~ 
λέγων ἐν τῷ δικαστηρίῳ τοὺς χρήστας mxav καὶ μηδενὶ τῶν 
Ξ Ν 3 ~ > - = 
δανειστῶν μηδὲν ἀποδοῦναι. Ov βουλομένου δὲ τοῦ μειρακί-- 
ν > .υ ι , ~ 
σκου, διαγνοὺς αὐτὸς ἐλϑὼν μανϑάνειν, μαϑητὴν τοῦ Σωκράτους 
> ' ‘ ’ “Ves ~ ~ ' 
ἐκκαλέσας τινὰ διαλέγεται. Εκλυϑείσης δὲ τῆς διατριβῆς, οἵ τε 
Py Ἀ ’ ΄ \ 4 ~ Ἂ =e c ~~ 
μαϑηταὶ κύκλῳ καϑήμενοι πιναροὶ ovvogartar καὶ αὐτὸς 0 Sw- 
ς Ἀ , , 2 - ' 
κράτης ἐπὶ χρεμάϑρας αἰωρούμεγος καὶ ἀποσκοπῶν τὰ μετέωρα 
» ν - >, ~ bad 
ϑεωρεῖται. Meta ταῦτα τελεῖ παραλαβὼν τὸν πρεσβύτην, καὶ 
‘ ' 5] > ὧν , 3 ' ' ι Ἀ > 
τοὺς γνομιζομέγους mag αὐτῷ ϑεούς, Acou, προσέτι δὲ καὶ Ai- 
’ ‘\ U ~ * ‘ " > ν᾽ 
ϑέρα καὶ Nepéhag κατακαλεῖται. Πρὸς δὲ τὴν εὐχὴν εἰσέρχον»- 


ΥΠΟΘΕΣῚΙΣ. ἤ 


᾿ ᾽ , “Ὁ ‘A , > 2 ΄ 
ται Ἰγεφέλαι ἐν σχήματι χοροῦ καὶ φυσιολγήσαντος οὐκ ἀπιϑάνως 
~ ’ > ~ ᾿ 
τοῦ Σωκράτους ἀποκαταστᾶσαι πρὸς τοὺς ϑεατὰς περὶ τιλειόνων 
' . ᾿ - c ' , 2 
διαλέγονται. Μετὰ δὲ τοῦτα ὁ μὲν πρεσβυτὴης διδασκόμενος ἐν 
- - Ἁ ~ , ~ > ᾿ ᾿ 
τῷ φανερῷ τινὰ τῶν μαϑημάτων γελωτοποιεῖ " καὶ ἐπειδὴ διὰ 
> ~ ‘ , ᾿ 
τὴν ἀμαϑίαν ἐκ τοῦ φροντιστηρίου ἐκβάλλεται, ἄγων πρὸς βίαν 
, ~ , [4 ΄ 
τὸν υἱὸν συνίστησι τῷ Swxgate. Τούτου δὲ ἐξαγαγόντος αὐτῷ 
~ , ‘ , . 
ἐν τῷ ϑεάτρῳ τὸν ἄδικον καὶ τὸν δίκαιον λόγον, διαγωτνισϑ εὶς 
¢ t 3 7 > 
c ” \ ν ’ , \ ‘ αι c ” 
ὃ ἄδικος πρὸς τὸν δίκαιον λόγον, καὶ παραλαβὼν αὑτὸν ὁ ἀδι- 
, , ΄ Α 23ϑ».υ c 
κος λόγος ἐχδιδάσκει. Κομισάμεγος δὲ αὐτὸν ὃ πατὴρ ἐχπεπονη-- 
ig 7] 
΄ ~ , c ? = 
μένον ἐπηρεάζει τοῖς χρήησταις, χαὶ ὡς κατωρϑωκώς, εὐωχεὶ πα- 
, 4A > > 
αλαβών.  Tsvousvyne δὲ περὶ τὴν εὐωχίαν ἀντιλογίας, πληγὰ 
Ἷ ς iV aS 
. c A ~ - " c A , 
λαβὼν ὑπὸ tov παιδὸς βοὴν ἵστησι, καὶ προσκαταλαλούμενος 
- ἣν ~ t a ol . a+ c . ~ c~ 3 
ὑπὸ τοῦ παιδὸς ote δίκαιον τοὺς πατέρας ὑπὸ τῶν VIWY ἄντι- 
’ c - ‘ ν᾿ " ν \ , c 
τύπτεσϑαι, ὑπεραλγὼν διὰ THY πρὸς TOY υἱὸν σύγκρουσιν ὁ γέ- 
, \ Ld - 
ρων, κατασκάπτει καὶ ἐμπίπρησι τὸ φροντιστήριον τῶν ZwxQa 
lad tas ‘ - nd , “- 
τιστῶν. Τὸ δὲ δρᾶμα τῶν πάνυ δυνατῶς πεποιημένων. 


AAALR&. 


Πατὴρ τὸν υἱὸν σωκρατίξειν βούλεται " 

Καὶ τῆς περὶ αὐτὸν ψυχρολογίας διατριβὴ 
“Ἵκανή, λόγων ἀπόνοια πρὸς τοὐναντίον. 
Χορὸν δὲ Ἰγεφελῶν ὡς ἐπωφελὴ λέγων, 

Καὶ τὴν ἀσέβειαν Σωκράτους διεξιών " 
ἔλλλαι 8᾽ ὑπ’ ἀνδρός .«. κατηγορίαι πικραΐ, 
Καὶ τῶν μαϑητῶν εἷς πατραλοίας ἐχτόπως. 
Εἶτ᾽ ἐμπυρισμὸς τῆς σχολῆς τοῦ Σωκράτους. 


Τὸ δὲ δρᾶμα τοῦτο τῆς ὅλης ποιήσεως κάλλιστον svat φησι 
καὶ τεχνικώτατον. — 
Ai πρῶται Ἱγεφέλαν ἐν ἄστει ἐδιδάχϑησαν ἐπὶ ἄρχοντος Ἰσάρ- 
χου, ὅτε Κρατῖνος μὲν ἐνίκα Πυτίνῃ, *Ausiwlag δὲ Κόννῳ. 
1" 


0 APISTO®ANOTS NEDEAAT. 


, ? ’ »ε \ , 3» » am ; 
Ahonsg Agiotopurnys διαῤῥιφϑεὶς παραλόγως φηϑὴ δεῖν αναδι- 
lan \ ’ 3 ͵ ἈΝ ' 2 . ι 
δαξὰς τὰς ὅτε οἷς ak Rie SY ον τὸ ϑέατρον. Anotrguy δὲ 
πολὺ μᾶλλον καὶ ἐν τοῖς ἔπειτα οὐχέτι τὴν διασκευὴν εἰσήγαγεν. 
Ai δὲ δεύτεραι eee ἐπὶ ᾿Ἀμειγίου ἄρχοντος. 
“οῦτο ταυτόν ἐστι τῷ προτέρῳ- Διεσκεύασται δὲ ἐπὶ μέρους 
> 2 ᾿ 3 ~ . ~ ' 
ὡς uv δὴ ἀναδιδάξαν μὲν αὐτὸ TOU ποιητοῦ προϑυμηϑέντος, 
3 Ὁ ᾿ - ) ὦ > ΄ ΄ ᾿ 
οὐκέτι δὲ τοῦτο Ou’ ἣν ποτε αἰτίαν ποιήσαντος. Ιίαϑολου μὲν 
π - ' ' ’ ,* ‘ 
οὖν σχεδὸν παρὰ πᾶν μέρος γεγενημένη OLogPmwo. Ta μὲν 
‘ ~ lice ~ ~ 
γὰρ περιήρηται, τὰ δὲ πέπλεχται, καὶ ἐν TH τάξει καὶ ἐν τῇ τῶν 
} διαλλαγὴ χημά t. “A δὲ ὁλοσχερῆ τῆς ὃ 
προσώπων διαλλαγῇ μετεσχημαάτισται. é ολοσχερὴ τῆς δια- 
- ~ UU , 2 c ’ ~ ~ 
υχκευῆς τοιαῦτα ὄντα τετύχηκεν, αὐτίκα ἢ παράβασις τοῦ χοροῦ 
” , τε c ’ ͵ ᾿ ‘ » τὸ Η 
ἤμειπται, καὶ ὁπου ὁ δίκαιος λόγος πρὸς τὸν ἀδικον λαλεῖ, καὶ 
-- cr ’ ς ν tf 
τελευταῖον ὁποῦ καίεται ἡ διατριβὴ «Σωχράτους. 
- ΄ c ~ 
Τὴν μὲν κωμῳδίαν καϑῆχε κατὰ Σωχράτουρ, ὡς τοιαῦτα vo- 
ς ’ 2 , > wn ’ 
μίζοντος, καὶ ἹΝεφέλας καὶ “4έρα καὶ. τί γὰρ add’ ἢ ξένους εἰ-- 
, ’ - wits τὶ ~ ‘ ‘ ~ 
σάγοντος δαίμονας. Xoow δὲ ἐχρήσατο Nepehwv πρὸς τὴν τοῦ 
> 4 ’ r \ ~ τ 9 , A ' 
ἀνδρὸς κατηγορίαν, καὶ διὰ τοῦτο οὕτως ἐπεγράφη. Jittat δὲ 
' ε , (4 ' 
φέρονται Νεφέλαι. Ot δὲ κατηγορήσαντες Σωκράτους Πήέλητος 
, 
καὶ ᾿“νυτος. 


OQRMA ΤΟΥ ΜΧΤΙΣΙΓΡΟΥ: 


»ἤ A ' , ~ , 
Arvtog καὶ Πἤέλητος Σωκρατει τῷ «Σωφρονίσκου βασκηναντες 
\ eS a , , 3 , ε νι 3 , 
καὶ αὐτὸν μὴ δυνάμενοι βλάψαι ἀργύριον ἱκανὸν Agiotogare 
’, " - 3 2 ay x. ’ ‘ 
δεδώκασιν, ἵνα δρᾶμα κατ᾽ αὐτοῦ συστήσηται. Καὶ ὃς πεισϑ εὶς 
ἢ , κ' , ΄ 9 , Gan ~ ray 
γέροντα τινὰ Στρεψιάδὴν καλούμενον ἐπλάσατο ὑπὸ χρεῶν πιεζό-- 
«ει ere! , ι - 
μένον, ἃ δὴ ἀνηλώκει περὶ τὴν τοῦ παιδὸς Φειδιππίδον ἵππο-- 
' Ou δὲ , ple Ref Cos ἢ ἢ 
τροοφίαν. ὑτω δὲ ToUTWY ἐχόντων, μὴ ἔχων ὁ Στρεψιάδης τί 
΄ A ‘ , , ~ a ‘ 
ποιησεν περὶ τὰ χρέα, βουλεύεταν προσαγαγεῖν τῷ «Σωκράτει τὸν 
« Ὁ ~ ' ͵ ? ~ ‘ ’ 
ἑαυτοῦ παῖδα, ἵνα παρ᾽ αὐτοῦ τὸν ἄδικον μάϑῃ λόγον, καὶ οὕτω 
᾿ x 3 , ‘ 3 
τοὺς δαγνειστὰς ἁποχρούσηται. Φειδιππίδης μὲν οὖν, πολλὰ δεη- 
᾿ ~ ’ ~ 3 > 
ϑέντος τοῦ πατρὸς, προσελϑεῖν οὐκ ἐπείσϑη. “Anotuyov δὲ ὃ 


THOOESXIZ. 7 


, “ Siro Ri Ss ’ > r \ > 2» 2] \ ' 
πιρεσβύτης τῆς ἐπ᾽ ἐκείνου ἐλπίδος καὶ οὐκ ἔχων ὑστις καὶ γέ- 
> ΄ -- ~ 2er . ~ c Π 
νηται, εἰς δεύτερον side πλοῦν. Οὐδὲν γὰρ τῆς ἡλικίας φρον-- 
’ 299 » \ » ” fee > ἢ oa , 
tivag οὐδ᾽ ἐνθυμηϑεὶς εἴ τισιν ἄτοπος δόξειεν ἀνὴρ ἐπὶ γήραος 
ὑδῶ Sa Sa On , Ἔ 2 af rAd? > a 
οὐδῷ μανϑᾶνειν xatuneg κομιδὴ νέος ἀρχόμενος, uhh εἰς ἕν 
> ‘ , ~ aX , rev 4 ' 
ἀφεωρακὼς MOVOY ἐκεῖνο, ἐὰν ἄρα οἷός TE γένηται τοὺς δανειστὰς 
" - 3 - . , 3.8 ΄ ~ =< 
διὰ πειϑοῦς ἀποστερῆσαι τὰ χρήματα, αὐτὸς προσεισι TH Σω- 
, 3 Σ΄» ᾿ ε - - ΄ ᾿ ~ 2 κ 
χρατει. Οὐκ ἔχων δὲ ὑπηρετοῦντα τῇ νοήσει τὸν ,νοῦν, ἀλλὰ 
~ n τ τ ~ ~ 
τοιοῦτος ὧν οἷς ἐμάνθανεν, οἷος καὶ πρὶν τῆς παιδείας ἐφῆφϑαι, 
=> 4 . > ἢ , " ‘ ~ Ν ἃ Ύ 
αὐτὸς μὲν ἀπέγνω παιδεύεσϑαι, προσελϑὼν δὲ τῷ παιδὲ καὶ αὐ- 
~ ~ , 7 ~ c ~ 
Jig πολλαῖς πέπεικε ταῖς δεήσεσιν ἕγα tov “Σωχράτους ομιλητων 
ε ’ , ‘ 5 
γενέσϑαι. Ὃ δὲ καὶ γέγονε καὶ μεμάϑηκε. Συνίσταται δὲ to 
- - ~ , ~ 
δρᾶμα ἐκ χοροῦ Ἱγεφελῶν. Ἔχει δὲ κατηγορίαν τοῦ Swxgitove, 
ε; - , . 3 A , 9 , , 2 ’ 
otr τοὺς συνήϑεις ϑεοὺς ἀφεὶς καινὰ ἐνόμιζε δαιμόνια) Agogo 
A ~ 
καὶ Ἱγεφέλας καὶ τὰ τοιαῦτα. 


AAARZ. 


, ° c « 7, . 
Πρεσβύτης τις Στρεψιάδης ὑπὸ δανείων καταπονούμεγος διὰ 
‘ ~ 4 ~ ’ ’ 
τὴν ἱπποτροφίαν τοῦ παιδὸς δεῖται τούτου φοιτήσαντα εἰς τὸν 
~, , 9 ~ ψ χὃ i , a ὃ a ~ ὃ - 
Σωχράτην μαϑεῖν τὸν ἀδικον λόγον, ὁπως μηδενὶ τῶν δανειστῶν 
‘ 2 ’ Α΄ ' ‘ - ’ 2 
μηδὲν ἀποδώσῃ. My βουλομένου δὲ τοῦ παιδὸς εἰσέρχεται av- 
, a x ΄ = PLES - c 
tog. Καὶ μὴ δυνάμενος μαϑεῖν διὰ τὸ γῆρας ἐκδιώκεται. Ὑπο- 
’ " = - »” > . Ὁ , ‘ 
στρέψας δὲ καὶ τῷ υἱῷ πείσας Ἰγαγεν αὐτὸν τῷ Σωκράτει, ὃς 
᾿ \ ’ , 2.7 \ a - ' Ἀ 
καλέσας τὸν δίκαιον λόγον καὶ adixov καὶ αἵρεσιν τῷ γέῳ δοὺς 
ῳ ’ “ \ ᾿ , Ἀ ‘ c 
ἐχλέξασϑαι, διδάσκει ἐχεῖνον τὸν ἄδικον λόγον. Maduy δὲ ὁ 
a ᾿ ΄ ς \ N , é N 
υἱὸς ὁπὲρ ἐβούλετο ὁ πατὴρ καὶ THY παχυτητα ἐκείνου καταγγοὺς 
, A ᾿ Ἀν τυ c bd c 4 ᾿ 3 ΄ A ‘ ~ 
τύπτει TOY πατέρα αὐτὸν ἑστιῶντα.. O δὲ ἀλγήσας διὰ τὴν τοῦ 
> ᾿ > F 4 = , 
παιδὸς ἀσέβειαν ἀπελϑὼν κατακαΐεν τὸ φροντιστήριον, νομίσας 
᾿ , ~ > ~ ‘ ΕἾ - 
Σωκχράτην αἴτιον τῆς ἀσεβείας τοῦ παιδὸς εἶναι. Kutnyogst δὲ 
> ~ os ’ c 2 ~ πὰ Rae \ > , 
ἐνταῦϑα τοῦ Σωχράτους ὡς ἀσεβοῦς καὶ ξένους ϑεοὺς ἐπεισα- 
> ᾿ A , 2 ' ’ 
γοντος ἀφέντος τοὺς συνηϑεις. πιγραφεται δὲ Ἱγεφέλαι, διότι 
Ἵ χορὸς ἹΝεφελῶν ὁμιλῶν Swxoute, ἃς ἐγόμιζε Osu 
παρεισάγεται χορὸς Nepshwy ομιλῶν “Σωκράτει, ἃς evout ἄς, 


8 APIZTO®ANOTS NEGEAAL. 


ὡς ᾿Δριστοφάνης κατηγορεῖ. Ὃ γὰρ “Avutog καὶ Πέλητος φϑο- 
γοῦντες Σωκράτει καὶ μὴ δυνάμενοι ἄλλως βλάψαι ἢ φανερῶς 
κατηγορῆσαι μεγάλου ὄντος, ἱκανὸν ἀργύριον δεδώκασιν ᾽Αριστο-- 
paver ταύτην τὴν κωμῳδίαν κατ᾽ ἐκείνου γράψαι. Τὰ δὲ πρό- 
σωπα Στρεψιάδης, Φειδιππίδης, μαϑητὴς Σωκράτους, “Σωκράτης, 
χορὸς Ἱγεφελὼν δίκαιος λόγος, ἄδικος λόγος, Πασίας δανειστής, 
μάρτυς. , 


ΝΕ ΦΕ 4 47. 





ZSTPEPIAAH.. 
> τ ἢ 
Tov tov: inal j 
> ~* : ~ \ ~ ~ Albee ed 
2 Ζεῦ βασιλεῦ, τὸ χρῆμα τῶν νυκτῶν ὅσον 
ἡ 7 . Og 9’ ς Ἕ  - 5 
πέραντον" οὐδέποϑ᾽ ἡμέρα γενήσεται ; 
\ \ , ἈΠ ς, ΄ >! 52 ak 
Kat μὴν πάλαι γ᾽ ahextevovos ἠκουσ᾽ eva. 
Οἱ δ᾽ οἰκέται ῥέγκουσιν: ἀλλ᾽ οὐκ ἂν πρὸ τοῦ. ὁ 
*Andhowo dnt’, ὦ πόλειμιε, πολλῶν οὕνεκα, 
"OV οὐδὲ κολάσ᾽ ξξεστί μοι τοὺς οἰκέτας. 
‘ALN οὐδ᾽ ὃ χρηστὸς οὑτοσὶ νεανίας 
og ίρε π᾿ τ ee Peer 
γείρεται τῆς νυκτός, ἀλλὰ πέρδεται, 
2 χι 7 / > Ξ ΕΞ 
ἔν πέντε σισύραις ἐγκεκορδυλημεένος. 10 
3 4λλ᾽ > ἃ oa we JCF 3 2 ὩΣ , re 
2 εἰ δοκεῖ, δέγκωμεν ἐγκεκαλυμμένοι. 
‘AAV οὐ δύναμαι δείλαιος εὕδειν δακνόμενος 
“Ὑπὸ τῆς δαπάνης καὶ τῆς φάτνης καὶ τῶν χρεών, 
Ν \ ‘ cf ς ας / 5Ξ.. 4 
Mia τουτονὶ tov υἱὸν. ᾿Ο δὲ κόμην ἔχων 
- “Ἵ7ππάζεταί τε καὶ ξυνωρικεύεται ο΄ 15 
᾿Ονειροπολεῖ & ἵππους" ἐγὼ δ᾽ ἀπόλλυμαι, 
‘Ogav ἄγουσαν τὴν σελήνην εἰχάδας. 
ὩΣ \ a 2 ~ ee A ray 
γὰρ τόκοι χωροῦσιν. πτε, παῖ, λύχνον, 
"Κἀκ ) ἴον, ἵν᾽ ἀναγνῶ λαβὼ 
φερε τὸ γραμματεῖον, ἵν᾽ ἀναγνῶ λαβὼν 
᾿Οπόσοις ὀφείλω καὶ λογίσωμαι τοὺς τόκους. 50 
+ 


10 NE@GEAAT. 


Dio’ ἴδω, ti ὀφείλω ; Aadexa μνᾶς Πασίᾳ. 
Tov δώδεκα μνᾶς Πασίᾳ ; Ti ἐχρησάμην ; 
τ ΡΟ ΩΣ Ν a Υ͂ Ov (λ 
Ov ἐπριάμην τον κοππατίαν. ἴμοι τάλας, 
Εἴϑ' ἐξεκόπην πρότερον τὸν ὀφϑαλμὸν λίϑῳ. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Dihov, ἀδικεῖς " ἔλαυνε τὸν σαυτοῦ δρόμον. 25 
ΣΤΡΕΨΙΑΔΗΣ. 
Τοῦτ᾽ ἔστι τουτὶ τὸ κακὸν 6 μ᾽ ἀπολώλεκεν" 
3 ~ Ἂ \ / « , 
Ονειροπολεῖ yao καὶ καϑεύυδων ἱππικὴν. 
| ΦΕΙΔΙΠΠΙΔΉΣ. 
Πόσους δρόμους ἐλᾷ τὰ πολεμιστήρια ; 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿Εμὲ μὲν σὺ πολλοὺς τὸν πατέρ᾽ ἐλαύνεις δρόμους. 
᾿4τὸρ τί χρέος ἔβα με peta τὸν Πασίαν ; 80 
~ ~ 7 \ - 3 z 
7ρεῖς uvai διφρίσκου καὶ τροχοῖν = _Auvvia. 
| ΦΕΙΔΙΠΠΙΔΉΣ. 
* Anaye τὸν ἵππον ἐξαλίσας οἴκαδε. 
ΣΤΡΕΨΙΑΔΗΣ. 
"AMV ὦ pen? ἐξήλικας ἐμέ Le Ex TOV ἐμών. 
“Ὅτε καὶ δίκας ὥφληκα, χἄτεροι TOxOV | 
᾿Βνεχυράσασϑαΐ φασιν. 
ΦΕΙΔΙΠΠΙΔῊΣ. 
3 / > re - 
τεον, ὦ πάτερ, 35 
’ 7 ‘ , \ 
Tt δυσκολαίνεις καὶ στρέφει τὴν νύχϑ᾽ ὅλην ; 
ΣΤΡΕΨΙΑΔΗΣ. 
4ἄκνει we δήμαρχός τις ἔκ τῶν αὐ aed 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Eaocoy, ὦ δαιμόνιε, καταδαρϑεῖν 7 τί με. 
ΣΤΡΕΨΙΑΔΗΣ. 
Σὺ δ᾽ οὖν κάϑευδε" τὼ δὲ χρέα ταῦτ᾽ ἴσϑ᾽ ὅτι 


+ 


NEQDEAAT, 11 
᾿Ες τὴν κεφαλὴν ἅπαντα τὴν σὴν τρέψεται. 40 


LUD ὠφελ᾽ ἡ προμνήστρι᾽ ἀπολέσϑαι κακώς, 
” Huts με yn ἐπῆρε τὴν σὴν μητέρα" 

"Euot yee ἦν ἄγρρικος, ἥδιστος βίος, 
Ἡυρωτιῶν, ἀχόρητος, εἰκῇ κείμενος, 


“Bova μελίτταις καὶ προβάτοις καὶ στεμφύλοις. 45 
"Enew ἔγημα Μεγακλέους τοῦ Μεγακλέους 


᾿Αδελφιδὴν ἄγροικος ὧν ἐξ ἄστεως, 

Σεμνήν, rk i aan ἐγκεκοισυρωμένην. 

Ταύτην ὃ ὅτ᾽ ἐχάμονν, συγματεκλινόμην" € ἐγὼ 

“Oar. τρυγός, eo a) ἐρίων περιουσίας, 50 

‘HS at μύρου, κρόκου, καταγλωττισμάτων, 

Aunavys, λαφυγμόν, Κωλιάδος, Ζενετυλλίδος. 

Οὐ μὴν ἐρῶ γ᾽ ὡς ἀργὸς ἦν, ἀλλ᾽ ἐσπάϑα. 

‘Eye δ᾽ ἂν αὐτῇ ϑοίμάτιον δεικνυς τοδὲ 

7 595 “- , ’ τ, 

LTeopacw ἔφασκον. *2 γύναι, λίαν σπαϑᾷς. 

ΘΕΡΆΠΩΝ. 


en 
σι 


“Ελαιον ἡμῖν οὐκ ἔνεστ᾽ ἐν τῷ λύχνῳ. 


τ ἘΣ ΕΕΨΧΨΑΣΣΞ. 
ee τ τί γάρ μοι τὸν πότην ἧπτες λύχνον ; 
Avg’ 22.9", ἵνα κλάῃς. 
ΘΕΡΆΠΩΝ. 
Me τί δῆτα κλαύσομαι, 
ΣΤΡΕΨΙΑΔΗΣ. 
“Ὅτι τῶν παχειῶν ἐνετίϑεϊς ϑρυαλλίδων. 


. Meta tav??, ὅπως νῷν ἐγένεϑ᾽ υἱὸς οὑτοσί, 60 


ay ie ὃ Χ ‘ 8 Ε ‘ ? go = 

Lot τε δὴ καὶ TH γυναικὶ ταγαϑῃ, 

Περὶ τοὐνόματος δ᾽) ᾽ντεῦϑεν ἐλοιδορούμεϑα" 
ς Ν ἤτον Cf ΄, ‘ ‘ >I 

Η μὲν γὰρ ἵππον προσετίϑει πρὸς Tovvoua, 


12 NE@EAAT. 


Ξάνϑιππον ἢ Χάριππον ἢ Καλλιππίδην, 
"Eva δὲ τοῦ πάππον ᾿τιϑέμην Φειδωνίδην. 65 
r RH c= eee: | ee ees 
Teas μὲν οὖν ἐκρινομεῶ εἶτα τῷ χρόνῳ 
oa ~ / 2 7 - ; 
Kown al HOP EWEDH Φειδιππίδην. tn Jim 
Ae gS 
Τοῦτον τὸν vioy λαμβάνανα ἐκορίζετο, to 
“Ὅταν ov μέγας av gow ἐλαύνῃς πρὸς πόλιν, 
“Ὥσπερ Δηεγακλέης, ξυστίδ᾽ ἔχων. ‘Eva δ᾽ ἔφην, 70 
“Ὅταν μὲν οὖν τὰς, αἶγας ἔπ τοῦ Φελλέ EDS, 
“S2omEg ὃ πατήῤ σου, διῤθέραν ὦ ἐνημμένος. 
᾿“1λλ᾽ οὐκ ἐπείϑετο τοῖς ἐμοῖς οὐδὲν λόγοις, 
AN ἵππερόν μου κατέχεεν τῶν χρημάτων. 
Nv ae oA ; ‘ ΟΞ ΄, δὃ - ᾿ 
vv οὖν ὅλην τὴν νύκτα φροντίζων ὁδοῦ. π6 
"Μίαν εὗρον dteanoy δαιμονίως ὑπερφυᾶ. yw» 
14 Hn 2 as ’ 7 
Hy ἣν ἀναπείσω τουτονΐ, σωϑήσομαι. 
᾿Αλλ ἐξεγεῖραι πρῶτον αὐτὸν βούλομαι. 
Τ|ῶὡς one ἂν ἡδιστ’ αὐτὸν ἐπεγείραιμι; πώς ; 
Φειδιπιπίδη, Φειδιππίδιον. 
ΦΕΙΔΙΠΠΙΔΗΣ 
’ὔ > ? 
Ti, ὦ πάτερ; 80 
ΣΤΡΕΨΙΑΔΗΣ 
Κύσον με καὶ τὴν χεῖρα δὸς τὴν δεξιάν. 
ΦΕΙΔΙΠΠΙΔΗΣ. | 
δον, Ti ἔστιν; 
STPEWVIAAHS. 
Εἰπέ μοι, φιλεῖς ἐμέ; 
ΦΕΙΔΙΠΠΙΔΗΣ. [ 
Ny τὸν Ποσειδῶ τουτονὶ τὸν ἵππιον. 
ΣΤΡΕΨΙΑΔΗΣ. 
" ae] ’, ἊΝ“ ~ Auer Ἀ 
My "μοί γε τοῦτον μηδαμῶς τὸν ἵππιον 
κα Ν ie \ ΕΣ ~ ~ 
Οὗτος yee ὃ ϑεὸς αἴτιός μοι τῶν κακῶν. 85 


* 


NE@DEAAT. 


‘AAW εἴπερ ἐκ τῆς καρδίας μ᾽ ὄντως s φιλεῖς, 
"2 παῖ, πιϑοῦ. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Τί οὖν πίϑωμαι δῆτά cor; . 
ΣΤΡΕΨΙΑΔΗΣ. 
"EXOTQEWOY ὧς τάχιστα τοὺς σαυτοῦ τρόπους, 
Καὶ μάνϑαν᾽ ἐλϑὼῶν ἃν ἐγὼ παραινέσω. 
ΦΕΙΔΙΠΠΙΔῊΉΣ. 
“ἐγε δή, τί κελεύεις ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Kai τι πείσει ; ! 
ΦΕΙΔΙΠΠΙΔΗΣ. See: 
Πείσομαι, 
Νὴ τὸν Διόνυσον. | 
ΣΤΡΕΨΙΑΔΗΣ. 
Aseved νυν ἀπόβλεπε. 
“Ὁρᾷς τὸ ϑύριον τοῦτο καὶ τὠκίδιον ; 
ΦΕΙΔΙΠΠΙΔΗΣ: [κ᾿ 
“Ορῶ. Τί οὖν τοῦτ᾽ ἐστὶν ἐτεόν, ὦ πάτερ ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Ψυχών σοφῶν τοῦτ᾽ ἐστὶ φροντιστήριον. 
᾿Ενταῦϑ᾽ ἐνοικοῦσ᾽ ἄνδρες οἵ τὸν οὐρανὸν 
Aéyovtses ἀναπείϑουσιν ὡς ἔστιν πνιγεύς, 
Kaotw περὶ ἡμᾶς οὗτος, ἡμεῖς δ᾽ avd ouxes. 
Οὗτοι διδάσκουσ'᾽, ἀργύριον ἢν τις διδῷ, 
Aévyovta νικᾶν καὶ δίκαια κἄδικα. 
. ΦΕΙΔΙΠΠΙΔΗΣ. 
Εἰσὶν δὲ τίνες ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Οὐκ οἶδ᾽ ἀκριβῶς τοὔνομα" 
2 


13 


90 


100 


{π᾿ NE@EAAI. 


Μεριμνοφροντισταὶ καλοί te κἀγαϑοί. 
ΦΕΙΔΙΠΠΙΔΗΣ. ᾿ 
AiBoi, πονήροί γ᾽, οἶδα. Tovs ἀλαζόνας, 
Tovs ὠχριώντας, τοὺς ἀνυποδήτους λέγεις " 
Ὧν ὃ κακοδαίμων Σωκράτης καὶ Χαιρεφῶν. 
STPEWIAAHS. , | 
“HT ἢ, σιώπα" μηδὲν εἴπῃς νήπιον. τὸ 
"AW st te κήδει τῶν hae ἀλφρίτον, 
Τούτων γενοῦ μοι, σχασάμενοξ τὴν ἱππικήν. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Οὐκ ἂν μὰ τὸν Διόνυσον, εἰ δοίης γέ μοι 
Τοὺς φασιανούς, ovs τρέφει “εωγόρας. 
STPEVIAAHZ. 
"19", ἀντιβολῶ σ᾽, ὦ φίλτατ᾽ ἀνθρώπων ἐμοΐ, 
᾿Ελϑὼν διδάσκου. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Καὶ τί σοι μαϑήσομαι; 
ΣΤΡΕΨΙΑΔΗΣ. 
Kiva παρ᾽ αὐτοῖς φασιν ἄμφω τῶ λόγω, 
Tov κρείττον᾽, ὅστις ἐστί, καὶ τὸν ἥττονα. 


Τούτοιν τὸν ἕτερον τοῖν λόγοιν, τὸν ἥττονα; ," 


Νικᾷν “λέγοντά φασὶ τἀδικώτερα." 

δι 

Hy οὖν μάϑης μοι τὸν ἄδικον τοῦτον λόγον, 

“Αἵ νῦν ὀφείλω διὸ σέ, τούτων τῶν γρεῶν 

Οὐκ ἂν ἀποδοίην οὐδ᾽ ἂν οβολὸν οὐδενί. 
ΦΕΙΔΙΠΠΙΔΗΣ. 


Οὐχ ἂν πιϑοίμην: οὐ γὰρ ἂν τλαίην ἰδεῖν .ν. 


Tovs ἱππέας τὸ χρώμα διακεκναισμένος. 
ΣΤΡΕΨΙΑΔΗΣ. 
Οὐκ ἀρα, μὰ τὴν Ζήμητρα, τῶν γ᾽ ἐμῶν 20 
| "μα τὴν Ζἤμητρα, τῶν γ᾽ ἐμῶν ἔδει, 


100 


110 





NE@DEAAT. 15 


Our’ αὐτὸς οὐϑ᾽ ὃ ζύγιος ov ὁ σαμφόρας" 
"AAW ἐξελῶ σ᾽ ἐς κόρακας ἐκ τῆς οἰκίας. 
ΦΕΙΔΙΠΠΙΔΗΣ. 

"AAV οὐ περιόψεταί w ὃ ϑεῖος Meyaxdens 
"Ανιππον. ᾿Α«1λὴ᾽ εἴσειμι, σοῦ δ᾽ οὐ φροντιῶ. 125 
ΣΤΡΕΨΙΑΔΗΣ. 

"ALN οὐδ᾽ ἐγὼ μέντοι πεσών YE κείσομαι" 
"ALN εὐξάμενος τοῖσιν ϑεοῖς διδάξομαι 
«Αὐτὸς βαδίζων εἰς τὸ φροντιστήριον. 
Πῶς οὖν γέρων ὧν κἀπιλήσμων καὶ βραδὺς 
Adyay ἀκριβῶν σχινδαλάμους μαϑήσομαι; Hong εἶθ, 
᾿Πητέον. Τί ταῦτ᾽ ἔχων στραγγεύομαι, τ 
"ALM οὐχὲ κόπτω τὴν ϑύραν ; Hat, παιδίον. 
MAOHTHS. 
Bali? ἐς κόρακας" tis ἐσϑ᾽ ὃ κόψας τὴν ϑύραν ; 
4 ou EP PR PIAA. 
Φείδωνος υἱὸς Στρεψιάδης Κικυννόϑεν. 
ΜΑΘΗΤΗΣ. 
‘Auadys γε νὴ Ai’, ὅστις οὑτωσὶ σφόδρα 135 
‘Aneomegiuvas τὴν ϑύραν λελάκτικας 
Καὶ φροντίδ᾽ ἐξήμβλωκας ἐξευρημένην. 
ΣΤΡΕΨΙΑΔΗΣ. 
Σύυγγνωϑί wor τηλοῦ yao οἰχώ τῶν ἀγρῶν. 
‘ALN εἰπέ μοι τὸ πράγμα τοὐυξημβλωμένον. 
ΜΑΘΗΤΉΣ. 
> AMY ov ϑέμις πλὴν τοῖς uadytaiow λέγειν. 140 
ΣΤΡΕΨΙΑΖΗΣ. 
Aye νυν ἐμοὶ ϑαῤῥῶν" ἐγὼ vag οὑτοσὶ 
"Hx μαϑητὴς εἰς τὸ φροντιστήριον. 


16 NEDBEAAT. 


ΜΑΘΗΤΗΣ. 
“έξω. Μομίσαι δὲ ταῦτα χρη μυστήρια. 
᾿Ανήρετ'᾽ ἄρτι Χαιρεφῶντα Σωκράτης 
Ψύλλαν ὁπόσους ἅλλοιτο τοὺς αὑτῆς πόδας" 
Ζακοῦσα vag τοῦ “Χαιρεφῶντος τὴν ὀφρύν 
“Ent τὴν κεφαλὴν τὴν Σωκράτους ἀφήλατο. 

ΣΤΡΕΨΙΑΔΗΣ. 
Tes ss δῆτα τοῦτ᾽ ἐμέτρησε 5 
i ΜΑΘΗΤΗΣ. 
ΖΔεξιώτατα. 

Κηρὸν διατήξας, εἶτα τὴν ψύλλαν λαβὼν 
᾿Ενέβαψεν εἷς τὸν xn gor αὑτῆς TO πόδε, 
Kota ψυγείσῃ περϊἐφυσᾷν Hepouxat. 
Ταύτας ὑπολύσας ἀνεμέτρει τὸ χωρίον. 


ΣΤΡΕΨΙΑΔΗΣ. : 
“2 Ζεῦ βασιλεῦ τῆς λεπτότητος τῶν φρενῶν. 
ΜΑΘΗΤΗΣ. 


᾿ Τί Ont’ ἄν, ἕτερον εἰ πύϑοιο Σωκράτους 
/ 
Φροντισμα ; 
ΣΤΡΕΨΙΑΔΗΣ. 


Ποῖον ; ἀντιβολώ, κάτειπέ μοι. 


ΜΑΘΗΤΗΣ. 
᾿«Αἡνήρετ᾽ αὐτὸν ——— ὁ “Σφήττιος 
᾿Οπότερα τὴν γνώμην ἔχοι, tas ἐμπίδας 


Kato τὸ στόμ᾽ ἀδειν, ἢ) κατὰ τοὐῤῥοπύγιον. ἡ 


ΣΤΡΕΨΙΑΔΗΣ. 
Tt δητ᾽ ἐχεῖνος εἶπε περὶ τῆς ἐμπίδος : 
ΜΑΘΗΤΉΣ. 
᾿Εφασκεν εἶναι τοὔντερον τῆς ἐμπίδος 


Ψ ~ w 
“Στενόν" Ola λεπτοῦ δ᾽ ὄντος αὐτοῦ τὴν πνοὴν 


145 


155 


160 


NE@EAAT. 


Big βαδίζειν evdv τοὐῤῥοπυγίου" 

“Enetta κοῖλον πρὸς στενῷ πυθάκείμενον 

᾿ γὸν πρωκτὸν ἠχεῖν ὑπὸ βίας τοῦ πνεύματος. 
ΣΤΡΕΨΙΑΔΗΣ. 

δ λας ὁ ὁ πρῶκτός ἐστιν ἄρα τῶν ἐμπίδων. 

*f2 τρισμακάριος τοῦ διέντερεύματος. 

wH ῥᾳδίως φέυγων ἂν ἀποφύγοι δίκην 
“Ὅστις δίοιδε tovvtegoy τῆς ἐιιπίδος. 
ΜΑΘΗΤΉΣ. 

Peay δέ γε γνώμην hee ἀφῃρέϑη 

‘Tr’ ἀσχαλαβώτου. 
ΣΤΡΕΨΙΑΔΗΣ. 


ΜΑΘΗΤΗΣ. 
Ζητοῦντος αὐτοῦ τῆς σελήνης τοὶς ὁδοὺς 
Καὶ τὰς περιφοράς, εἶτ᾽ ἄνω κεχηνότος 


᾿“[πὸ τῆς. ὀροφῆς νύχτωρ γαλεώτης κατέχεσεν. 


ΣΤΡΕΨΙΑΔΗΣ. 
“Πσϑην γαλεώτῃ καταχέσαντι Σωκράτους. 
ΜΑΘΗΤΗΣ. 
᾿Εγχϑὲς δέ γ᾽ ἡμῖν δεῖπνον οὐκ ἣν ἑσπέρας. 
_ - STPEVIAAHS. 
> 5 \ » 5..3 ’ 
Liev’ τί οὖν πρὸς ταλφιτ᾽ ἐπαλαμήσατο ς 
MAOHTHS. 


Kata τῆς τραπέζῃς καταπάσας λεπτὴν τέφραν, 


Κάμψας ὀβελίόκον, εἶτα δια βήτην λαβῶν, 
"Ex τῆς παλαίστρας ϑοἰμάτιον ὑφείλετο. | 
᾿ ΣΤΡΕΨΙΑΔΗΣ. ΩΝ 
Τί dnv ἐκεῖνον τὸν Θαλὴν ϑαυμάζομεν ; 
"Avo? ἄνοιγ᾽ ἀνύσας τὸ φροντιστήριον, 
on 


17 


165 


170 


Τίνα τρόπον ; κάτειπέ μοι. 


175 


18 NE@EAAT. 


Καὶ δεῖξον ὡς τάχιστά μοι tov Σωκράτη. 
"Μαϑητιῶ γάρ" ἀλλ᾽ ἄνοιγε τὴν ϑύραν. 
" “Ἡράκλεις, ταυτὲ ποδαπὸὲ τὰ ϑηρία ; 
ΜΑΘΉΤΙΕΣ. 
Τί ἐθαύμασας ; τῷ σοι δοκοῦσιν εἰχκέναι ; 185 
STPEWIAANS. ΄ 
Τοῖς ἐκ Πύλον ληφϑεῖσι, τοῖς Ζακωνικοῖς. 
᾿“τὰρ τί ποτ᾽ ἐς τὴν γῆν βλέπουσιν οὕτοιΐ 
ΜΑΘΗΤΗΣ. 
Ζητοῦσιν οὗτοι τὰ κατὰ γῆς. 
ΣΤΡΕΨΙΑΔΗΣ. 
Βολβοὺς ἄρα 
“Ζητοῦσι. My νυν τουτογὲ φροντίζετε: ὁ 
"Eye γὰρ οἶδ᾽ tv’ εἰσὶ μεγάλοι καὶ καλοί. 190 
Ti γὰρ οἵδε δρῶσιν οἱ σφόδρ᾽ ἐγκεκυφότες ; 
MAOUTHS., 
Οὗτοι δ' ἐρεβοδιφῶσιν ὑπὸ τὸν Τάρταρον. 
ΣΤΡΕΨΤΙΑΖΗΣ. 
Ti δῆϑ᾽ ὁ πρωκτὸς ἐς τὸν οὐρανὸν βλέπει; 
ΜΑΘΗΤΉΣ. 
Αὐτὸς καϑ' αὑτὸν ἀστρονομεῖν διδάσκεται. 
"ARV εἴσιϑ', ἵνα μὴ ᾽κεῖνος ἡμῖν ἐπιτύχῃ. 195 
STPEWIAAIS. 
Mina γε. μήπω γ᾽" ἀλλ᾽ ἐπιμεινάντων, ἵνα 
αὐτοῖσι κοινώσω τι πραγμάτιον ἐμόν. 
MAOUTHS 
*AAN οὐχ οἷόν τ᾽ αὐτοῖσι 00s τὸν αέρᾷ͵ 
Ἔξω διατρίβειν πολὺν ἀγάν ἐστὶν χρόνον. 
αι Ἢ 5: 
Πρὸς τῶν ϑεῶν, τί γὰρ τάδ᾽ ἐστίν ; εἰπέ μοι. 500 


NE®EAAI. 19 


MAOHTHS. 
> 7 ‘ « ’ 
““στρονομία μὲν KUTNL. 
ΣΤΡΕΨΙΑΔΗΣ. 
Τουτὶ δὲ τί; 
ΜΑΘΗΤΊΙΣ. 
Γεωμετρία. 
ΣΤΡΕΨΙΑΔΗΣ. 
Τοῦτ᾽ οὖν τί ἐστι γρήσιμον ; 
XEN ᾽ 
ΜΑΘΗΤΗΣ. 
Τὴν ἀναμετρεῖσθαι. 
ΣΤΡΕΨΙΑΔΗΣ. : 
Πότερα τὴν κληρουχικήν : 
ΜΑΘΗΤΗΣ. 
Οὐχ, ἀλλὰ τὴν σύμπασαν. 
STPEPIAAIS. - 
’ Aotsiov λέγεις. 
To γὰρ σόφισμα δημοτικὸν καὶ χρήσιμον. 205 
MAOHTHS. 
Avtn δέ σοι γῆς περίοδος πάσης. “Ogas ; 
Aide μὲν “AdHva. 
ΣΤΡΕΨΙΑΔΗΣ. 
Τί συ λέγεις ; οὐ πείϑομαι, 
3 \ x > ς = , 
Lei δικαστὰς οὐχ ὁρῶ καϑημεένους. 
ΜΑΘΗΤΗΣ. 
‘2s τοῦτ᾽ ἀληϑῶς ᾿ Δ ττικὸν τὸ χωρίον. 
ΣΤΡΕΨΙΑΔΗΣ. 
Kai ποῦ Κικυννῆς εἰσὶν οὐμοὶ δημόται ; 2i0 
- ΜΑΘΗΤΗΣ. | 
᾿Ενταῦϑ' ἔνεισιν. “H δέ 7 EvBov, as ὁρᾷς, 
€ \ te, ook Pee τς , 
HDi παρατέταται ULAXOG πόῤῥω πάνυ. 


20 ἽΝ ὦ ῷ 18 ΔΕ Ὁ. 


ΣΤΡΕΨΙΑΔΗΣ. 
Οἷδ᾽ - ὑπὸ γὰρ ἡμῶν παρετάϑη καὶ Περικλέους. 
"AAW ἡ «Δακεδαίμων ποῦ ory ; 


ΜΑΘΗΤΗΣ. 
“Ὅπου "στίν ; αὑτηΐ 
ΣΤΡΕΨΙΑΖΗΣ. 
"Rs ἐγγὺς ἡμῶν. Τοῦτο πάνυ φροντίζετε, 518 


Ταύτην ag’ ἡμῶν ἀπαγαγεῖν πόῤῥω πάνυ. 
ΟΠ ΜΑΘΗΤΗΣ. 
"AAW οὐχ οἷόν τε νὴ 411". 
ΣΤΡΕΨΙΑΔΗΣ. 
Οἰμώξεσϑ᾽ ἄρα. 
Φέρε, τίς γὰρ οὗτος οὑπὶ τῆς κρεμάϑρας ἀνήρ; 
MAOHTHS. | 
Avtos. ᾿ 
ΣΤΡΕΨΙΑΔΗΣ. 
Τίς αὐτός ; 


ΜΑΘΗΤΗΣ. 
“Σωκράτης. 
ΣΤΡΕΨΙΑΔΗΣ: 
ἾΩ Σώκρατες. 
"19", οὗτος, ἀναβόησον αὐτόν μοι μέγα. 990 
ΜΑΘΗΤΗΣ. 


Avt0S μὲν οὖν σὺ κάλεσον" οὐ γάρ μοι σχολή. 
ΣΤΡΕΨΙΑΔΗΣ. 

52 Σώκρατες: 

Ἶ Σωκρατίδιον. 
SNKPATHS. 


Ti με καλεῖς, ὦ ᾽φήμερε ; 


ΝῈ ΦΈ ΑἹ. 91 


ΣΤΡΕΨΙΑΔΗΣ. 
Πρῶτον μὲν ὃ τι δρᾷς, ἀντιβολώ, κάτειπέ μοι. 
! ZNKPATHS. | 
*AcooBure x καὶ περιφρονῶ TOY ἥλιον. 225 
ΣΤΡΕΨΙΑΔΗΣ. 
"Ἐπειτ᾽ ἀπὸ ταῤῥοῦ τοὺς ϑεοὺς ὑπερφρονεῖς, 
‘ALN οὐκ ἀπὸ τῆς γῆς, εἴπερ ---᾿ 
SQKPATHS. 
Ov γὰρ ἄν ποτε 
Ἢ Sevgov og Fas τοὶ μετέωρα πράγματα, 
Ei μὴ κρεμάσας τὸ νόημα, καὶ τὴν φροντίδα 
“επτὴν καταμίξας εἰς τὸν ὅμοιον ἀέρα. 230 
δ᾽ ὧν χαμαὶ τἄνω κάτωϑεν ἐσκόπουν, 
Οὐκ av ποϑ᾽ εὗρον" οὐ γὰρ ἀλλ᾽ ἡ yn βίᾳ 
"Ehxet πρὸς αὑτὴν τὴν ἰχμάδα τῆς φροντίδος. 
Πάσχει δὲ ταὐτὸ τοῦτο καὶ τὸ κάρδαμα. 
| ΣΤΡΕΨΙΑΔΗΣ. 
Τί φής; 
‘HT φροντὶς ἕλκει τὴν ἰκμάδ᾽ εἰς τὸ κάρδαμα; 
"Tht νυν, κατάβηϑ᾽, ὦ ᾿πθκεραῦδιον; ὡς ἐμξ, 
‘Iva με διδάξῃς ὧνπερ οὕνεκ᾽ ἐλήλυϑα. 
ΣΩΚΡΑΤΗΣ. 
ἑ “HAs δὲ κατοὸ τί; 
ΣΤΡΕΨΙΑΔΗΣ. 
Βουλόμενος μαϑεῖν λέγειν. 
ix yoo τόκων χρήστων τε δυσκολωτάτων 240 
“Ayoucl, φέρομαι, τὰ χρήματ᾽ ἐνεχυράζομαι. 
ΣΟ PATHS. 
Totev δ᾽ ὑπόχρεως σαυτὸν ἔλαϑες γενόμενος ; 


NE®E AAT, 


STPEWIAAHS. Ip 


Neos μ᾽ ἐπέτριψεν ἱππική, δεινὴ φαγεῖν. 

"AiG με δίδαξον τὸν ἕτερον τοῖν σοῖν λόγοιν, 

Τὸν pe ἀποδιδόντα. Μισϑοὸν δ᾽ ὅντιν᾽ av 245 

Πράττῃ μ᾽ ὁμοῦμαΐ σοι καταϑήσειν τοὺς ϑεούς. 
ΣΩΚΡΑΤΗΣ: 


Ποίους ϑεοὺς oped ov ; πρῶτον γὰρ Feot 


‘Huiv νόμισμ᾽ οὐκ ἔστι. 
ΣΤΡΕΨΙΑΔΗΣ. 

Τῷ γὰρ ὄμνυτ᾽ ; ἤ 
Σιδαρέοισιν, ὥσπερ ἐν Βυζαντίῳ ; “ 
ΣΩ ΚΡΑΤΉΣ. β 

Βούλει ta ϑεῖα πράγματ᾽ εἰδέναι σαφῶς 250 
"Atv ἐστὶν ὀρϑώῶς ; 
ΣΤΡΕΨΙΑΔΗΣ. 

Ny Ai’, εἴπερ ἔστι γε. 
SNKPUTHS. 

Kai ξυγγενέσϑαι ταῖς Νεφέλαισιν és λόγους, 


Ταῖς ἡμετέραισι δαίμοσιν : 
ΣΤΡΕΨΙΑΔΗΣ. 
“Μάλιστά γε. 


ΣΩΚΡΆΤΗΣ 
Κάϑιζε τοίνυν ἐπὶ τὸν ἱερὸν οὐδείξσθα 
ΣΤΡΕΨΙΑΔΗΣ. 
: 255 


᾿Ιδοὺ κάϑημαι. 
ΣΩΚΡΑΤΗΣ. 


Tovtovi τοίνυν λαβὲ 


Τὸν στέφανον. 
ΣΤΡΕΨΙΑΔΗΣ. 
3 \ 7 , > ld 
Ex τί στέφανον ; Οἴμοι, Σώκρατες, 


ἌΟΡ ΟΜ , 23 


ἍἽὭσπερ μὲ τὸν “Adduavd’ ὅπως μὴ θύσετε. 
ΣΩΚΡΑΤΗΣ. 
Onn ἄλλὰ ταῦτα πάντα τοὺς τελουμένους 
“μεῖς ποιοῦμεν. 
4 STPEWIAAHS. 
Εἶτα δὴ ti κερδανῶ ; 
SOR PATHS / 
Aiévew γενήσει. τρίμμα, χκρόταλον. παιπάλῃ. - 260 


AL 


LAAN ἔχ᾽ ἀτρεμί. 
ΣΤΡΕΨΙΑΖΗΣ, 
7p, Mea τὸν 40’ ov ψεύσει 7 γέ με" 


Καταπαττόμενος YAO παιπάληῃ γενήσομαι. 


ΣΩΚΡΑΤΗΣ: : 
Εὐφημεῖν yon τὸν πρεσβύτην καὶ τῆς εὐχῆς ὑπα- 
κθύειν. 
"2 δέσποτ᾽ ἄναξ, ἀμέτρητ᾽ “Ano, ὃς ἔχεις τὴν γὴν 
μετέωρον, ““ 
Aauneds τ᾽ “ἐθήρ, σειιναΐ te ϑεαὶ Νεφέλαι βρον- 
ἱ ἐπΎ Ἐς 
τησικέραυνοι, ᾿ς 265 
A o , 3 ex δέ ~ LS 
ρϑητε, φάνητ᾽, ὦ δέσποιναι, τῷ φροντιστῇ με- 
. τέωροι. 
ΣΤΡΕΨΙΑΔΗΣ. 
My , = 4 v1 A ; / Ἁ 
ἥπω μήπω VE, πρὶν ἂν τουτὲ πτύξωμαι, μὴ κατα- 
βρεχϑώ. 


To δὲ μηδὲ κυνὴν οἴκοϑεν ἐλϑεῖν ἐμὲ τὸν κακοδαΐ- 
. uov’ ἔχοντα. 
| SAKPATUS. 
ἼἜλϑετε nv, ὦ πολυτίμητοι Nepédat, τῷδ᾽ εἰς 
ἐπίδειξιν" 


24 NE@EAAIT. 


Ei’ ἐπ’ ᾽Ολύμπου κορυφαῖς ἱεραῖς χιονοβλήτοι 

σι κάθησϑε, 970 

Ev? ᾿ΜὨκεανοῦ πατρὸς ἐν κήποις ἱερον χορὸν t- 
otate Nuupass, | 

ἴτ᾽ ἄρα Neihov προχοαῖς ὑδάτων χρυσξαις “oy 

τεσϑε ey OLY, Se eee 


ἊἪ Maat λίμνην ἔχετ᾽ ἢ σκόπελον ἜΣ: 


Miwavtos: 
‘Traxodaate δεξάμεναι ϑυσίαν καὶ τοῖς ἱεροῖσι 
χαρεῖσαι. 
ΧΟΡΟΣ. | : 
Wee ne: Νεφέλαι, yi ρὴδ 


-Αρϑώμεν pause δροσερῶν φύσιν εὐάγητον, 

Tatoos ἀπ᾿ ᾿Μκεανοῦ βαρναχέος 

᾿“γψηλῶν ὀρέων κορυφοὶς ἐπὲ 

Aevigoxduous, ἵνα 280 
Τηλεφανεῖς cxonids ἀφορώμεϑθα, 

Καρπούς τ’ ἀρδομέναν isgav γϑόνα, ye 

Kat ποταμῶν͵ ζαϑέων κελαδήματας, 

Καὶ πόντον κελάδοντα βαρύβρομον᾽ 
"Ouue vag αἰϑέρος ἀκάματον σελαγεῖται 285 

Maguagéas ἕν αὐγαῖς. 

"AAW ἀποσεισάμεναι νέφος ὄμβριον 

᾿ϑανάτας ἰδέας ἐπιδώμεϑα 


Τηλεσκόπῳ ὄμματι γαῖαν. 290 
ΣΩΚΡΑΤΗΣ. , - 
2 μέγα σεμναὶ Νεφέλαι, φανερῶς ἠκούσατέ μου 
καλέσαντος. 


“Ηισϑον φωνῆς ἅμα καὶ βροντῆς μυκησαμένης 


ϑεοσέπτου 5 


=. 


~~ 


NE@EAAT. 25 


ΣΤΡΕΨΙΑΔΗΣ. 
Καὶ σέβομαί 7’, ὦ πολυτίμητοι, καὶ βούλομαι ἀν- 


ταποπαρδεῖν 

Πρὸς τὰς βροντάς" οὕτως αὐτὰς τετρεμαΐίνω καὶ 
πεφόβημαι" 

Kei ϑέμις ἐστὶν, νυνί γ᾽ ἤδη, κεὶ μὴ ϑέμις ἐστί, 
χεσείω. Q95 


ΣΩΚΡΑΤΗΣ. 

Οὐ μὴ σκώψῃς μηδὲ ποιήσῃς ἅπερ οἱ τρυγοδαίμο- 
VES οὕὗτοι" 

"AAV εὐφήμει" μέγα γάρ τι ϑεῶν κινεῖται σμῆνος 
ἀοιδαῖς. 
ΧΟΡΟΣ 

Παρϑένοι ὀμβροφόροι, 

"Eldauev λιπαρὰν χϑόνα Παλλάδος, evavigov 
γᾶν 800 

Κέχροπος ὀψόμεναι πολυήρατον" 

Ov σέβας ἀῤῥήτων ἱερῶν, ἵνα 

Μιυστοδόκος δόμος 

᾿Εν τελεταῖς ἁγίαις ἀναδείκνυται, 

Οὐρανίοις τε ϑεοῖς δωρήματα, 805 

Naot # ὑψερεφεῖς καὶ ἀγάλματα, 

Kai πρόσοδοι μακάρων ἱερώταται, 

Εὐστέφανοί τε ϑεῶν ϑυσίαι ϑαλίαι τε; 

Παντοδαπαῖς ἕν ὥραις, 810 

᾿Ηρί τ᾽ ἐπερχομένῳ Βρομία χάρις, 

Εὐκελάδων τε χορῶν ἐρεϑίσματα, 

Kai Movou βαρύβρομος αὐλῶν. 

ΣΤΡΕΨΙΑΔΗΣ. 
Πρὸς τοῦ Διὸς ἀντιβολῶ σε, φράσον, τίνες εἴσ᾽ ὦ 
3 “Σώχρατες, αὗται 


26 NEDEAAT. 


Ai φϑεγξάμεναι τοῦτο τὸ σεμνὸν ; μῶν ἡρῶναί 
τινές εἰσιν ; 31 


σι 


ΣῪ ΡΡ ΤῊΡΞ 
“Ἡκιστ᾽, ἀλλ᾽ οὐράνιαι Nepehau, μεγάλαι ϑεαὲ 
ἀνδράσιν ἀργοῖς; 
«Ἵζἵπερ γνώμην καὶ διάλεξιν καὶ νοῦν ἡμῖν πα- 
᾿ ρέχουσι | 
= eee | ’ Α ~ ᾿ 
Kat τερατείαν καὶ περίλεξιν καὶ κροῦσιν καὶ κα- 
τάληψιν. 
ΣΤΡΕΨΙΑΔΗΣ 
μὰ χων ὑϑῆσχ 2 , 9 > - \ ’ 9 © , 
Tavv’ a9 axovoac aviary to pteyw ἢ ψυχὴ μον 
ἡ Af 


πεπότηται,. ΠΩ 

Καὶ λεπτολογεῖν ἤδη ζητεῖ καὶ meee καπνοῦ στε- 

νολεσχεῖν, 320 

Kat γνωμιδίῳ γνώμην νύξασ᾽ ἑτέρῳ λόγῳ ἀντιλο- 
γήῆσαι: 


“Πστ᾽, εἴ πώς ἔστιν, ἰδεῖν avtas ἤδη φανερῶς ἐπι- 
ϑυμώ. 
SK PATHS 
Βλέπε νυν δευρὶ πρὸς τὴν Πάρνηϑ᾽" ἤδη yae ogo 
κατιούσας 
“Ησυχῇ αὐτάς. 
ΣΤΡΕΨΙΑΔΗΣ. 
πο ποῦ ; δεῖξον. 
ΣῺ ΚΡΑΤΉΣΞ. 
“Χωροῦσ᾽ αὗται πάνυ πολλαὶ 
Διὰ τῶν κοίλων καὶ τῶν δασέων, αὗται πλάγιαι--- 
STPEWIAANS. δ 
Ti τὸ γρῆμα ; 5398 
ὃς οὐ καϑορώ. 


NEDBEAAT 27 


SNK PATHS. 
Παρὸὼ τὴν εἴσοδον. 
ΣΤΡΕΨΙΑΔΗΣ. 
"Πδὴη νυνὶ μόλις οὕτως. 
ΣΩΚΡΑΤΗΣ: 
Nov γέ τοι ἤδη καϑορᾷς αὐτάς, εἰ μὴ Anuds κο- 
λοκύνταις. 
ΣΤΡΕΨΙΑΔΗΣ. 
Ny A’ ἔγωγ᾽, ὦ πολυτίμητοι, πάντα γὰρ ἤδη κα- 
τέχουσι. 
ΣΩΚΡΑΤΗΣ. 
Ταύτας μέντοι ov Feds οὔσας οὐκ ἤδης οὐδ᾽ Evo- 
; μίζες ; 
STPEWIAAHYS. 
Μὸὼ Ai’, ἀλλ᾽ buizyany καὶ δρόσον αὐτὸς ἡγούμην 
καὶ καπνὸν εἶναι. 330 
QK PATI. 
Οὐ γὰρ μὰ Ai’ οἶσϑ᾽ ὅτι πλείστους αὗται βόσκου- 
σι σοφιστάς, 
Θουριομιάντεις, ἰατροτέχνας, σφραγιδονυχαργοκο- 


UNTAS, 

Κυκλίων τε χορῶν ἀσματοκάμπτας, ἄνδρας μετεω- 
ροφένακας, 

Οὐδὲν δρώντας βόσκουσ᾽ ἀργούς, ὅτι ταύτας μου- 
σοποιοῦσιν. 


ΣΤΡΕΨΙΑΔΗΣ. 
Ταῦτ᾽ ao’ ἐποίουν ““ὑγρᾶν Nepehav στρεπται- 
γλᾶν δάϊον ὁριιάν," 55 
“ Πλοκάμους 0 ἑκατογκεφάλα Tupa, πρημαινού 


σας τε Gvéhias,” 


28 NEDEAAT. 


Εἶτ᾽ “ degias,” ‘dtegds,” “ γαμψοὺς οἰωνοὺς ἀε- 
eovnyeis,”’ 
“”OuBoous ® ὑδάτων ibis Nepehan™ ie 
ἀντ᾽ αὐτῶν κατέπινον 
« Κεστρᾶν τεμάχη μεγαλᾶν ἀγαϑᾶν, κρέα τ᾽ ὀρνί- 
Fea κιχηλᾶν." 
ΣΩΚΡΑΤΗΣ. 
Διο μέντοι τάσδ᾽ ovyi δικαίως ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Aééov δή μοι, τί παϑοῦσαι, 840 - 
Εἴπερ Νεφέλαι γ᾽ εἰσὶν ἀληϑώῶς, ϑνηταῖς εἴξασι 
γυναιξίν ; 
Οὐ γὰρ ἐκεῖναί γ᾽ εἰσὶ τοιαῦται. 
ΣΟ PATHS. 
Φέρε, ποῖαι γάρ τινές εἶσιν ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Οὐκ οἶδα σαφῶς" εἴξασιν γοῦν ἐρίοισιν πεπταμέ- 
VOLOL, 
Κοὐχὶ γυναιξίν, μὰ Ai’, οὐδ᾽ δτιοῦν αὗται δὲ oF 
vas ἔχουσιν. 
SQKPATHS. 
᾿“πόκριναΐ νυν ἅττ᾽ ἂν ἔρωμαι. 
ΣΤΡΕΨΙΑΔΗΣ. 
“ἐγε νυν ταχέως ὃ τι βούλει. ϑιῦ 
ΣΩΚΡΑΤΗΣ. 
᾿Ηδὴ ποτ’ ἀναβλέψας εἶδες νεφέλην Κενταύρῳ 
ὁμοίαν 
ἊἪ παρδάλει ἢ λύκῳ ἢ ταύρῳ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Ny Ai? ἔγωγ. Εἶτα τί τοῦτο ; 


NE@GEAAT. 29 


ΣΩΚΡΑΤΗΣ. 
Τίγνονται πάνϑ'᾽ ὅσα βούλονται" xd’ ἢν μὲν ἴδω- 
σι κομήτην, 
” , - ΄ 7 ys \ ΜΙΝ 
Ayo.ov τινα τῶν λασίων τούτων, οἷόνπερ τὸν FE- 


νοφάντου, 
Υ͂ [4 ‘ 7 2 ~ , 32, 
“Σ΄κώπτουσαι τὴν μανίαν avtov Κενταύροις ἧἤκα- 
σαν αὑτάς. 350 


ΣΤΡΕΨΙΑΔΗΣ. 
Ti γάρ, nv ἅρπαγα τῶν δημοσίων κατίδωσι Σίμω- 
να, τί δρῶσιν ; 
ΣΩΚΡΑΤΗΣ. 
᾿Αποφαίνουσαι τὴν φύσιν αὐτοῦ λύκοι ἐξαίφνης 
ἐγένοντο. 
ΣΤΡΕΨΙΑΔΗΣ. 
Ταῦτ᾽ ἄρα, ταῦτα Κλεώνυμον αὗται τὸν δίψασπιν 
ytes ἰδοῦσαι, 
“Ὅτι δειλότατον τοῦτον ἑώρων, ἔλαφοι dia τοῦτ᾽ 
| ἐγένοντο. 
ΣΩΚΡΑΤΗΣ. 
Kai νῦν γ᾽ ὅτι Κλεισϑένη εἶδον, ὁρᾷς, dia τοῦτ᾽ 
ἐγένοντο γυναῖχες. 355 
ΣΤΡΕΨΙΑΔΗΣ. 
Χαίρετε τοίνυν, ὦ δέσποιναι" καὶ νῦν, εἴπερ τινὲ 
κἄλλῳ, 
Οὐρανομήκη δήξατε κἀμοὶ φωνήν, ὦ παμβασίλειαι. 
ΧΟΡῸΣ. 
Χαῖρ᾽, ὦ πρεσβῦτα παλαιογενές, ϑηρατοὸ λόγων 
φιλομούσων᾽ 
Σύ τε, λεπτοτάτων λήρων ἱερεῦ. φράζε πρὸς ἡμᾶς 
6 τι γρήζεις" 
ge 


30 NE@EAAT. 


Οὐ γὰρ ἂν ἄλλῳ γ᾽ ὑπακούσαιμεν τῶν νῦν μετεω- 
ροσοφιστῶν 800 
Πλὴν ἢ Προδίκῳ, τῷ μὲν σοφίας καὶ γνώμης ovve- 
κα, σοὶ δέ, 
Ὅτι βρενϑύει τ᾽ ἐν ταῖσιν ὁδοῖς καὶ τωφϑαλιιὼ 
παραβάλλεις, 
Κἀνυπόδητος κακὰ πόλλ᾽ ἀνέχει κἀφ᾽ ἡμῖν σεμνο- 
προσωπεῖς. 
ΣΤΡΕΨΙΑΔΗΣ. 
"2 IN τοῦ φϑέγματος, ὡς ἱερὸν καὶ σεμνὸν καὶ 
τερατῶδες. 
SQRKPATHS. 
Attar γάρ τοι μόναι εἰσὶ ϑεαί" τἄλλα δὲ πάντ᾽ 
ἐστὶ φλύαρος. 365 
ΣΤΡΕΨΙΑΔΗΣ. 
Ὃ Ζεὺς δ᾽ ἡμῖν, φέρε, πρὸς τῆς Ins, οὐ λπ ΡῈ 
ov ϑεός ἐστιν ; 
SNK PATHS. 
Ποῖος Ζεύς; ov μὴ ληρήσῃς οὐδ᾽ ἔστι Ζεύς. 
ΣΤΡΕΨΙΑΔΗΣ. 

Τί λέγεις ov; 
᾿Αλλὰ τίς ὕει; τουτὶ yoo ἔμοιγ᾽ ἀπόφηναι πρῶτον 
ἁπάντων. 

SNKPATHS. 
Avtar δή που" μεγάλοις δέ σ᾽ ἐγὼ σημείοις αὐτὸ 
διδάξω. 
Φέρε, ποῦ γὰρ πώποτ᾽ ἄνευ Νιεφελῶν ὕοντ᾽ ἤδη 
τεϑέασαι; 870 
Καίτοι γρὴν αἰϑρίας ὕειν αὐτόν, ταύτας δ᾽ ἀπο- 
δημεῖν. 


NEDEAAT., 31 


STPEWIAAHS. 
Ny tov °Andhho, τοῦτό γέ τοι τῷ νυνὶ λόγῳ εὖ 
προσέφυσας" 
Καίτοι πρότερον tov Ai’ adntas auny die κοσκί- 
νου οὐρεῖν. 
‘ALM ὅστις ὁ βροντῶν ἐστι φράσον" τοῦτό μὲ ποι- 
3 εἶ τετρεμαίνειν. 
ΣΩΚΡΑΤΗΣ. 
Avtat βροντῶσι κυλινδόμεναι. 
ΣΤΡΕΨΙΑΔΗΣ. 
Τῷ τρόπῳ, ὦ πάντα συ τολμῶν ; 375 
ΣΩΚΡΑΤΗΣ. 
“Oray éunhnotac ὕδατος πολλοῦ κἀναγκασϑῶσι 
φέρεσϑαι, 
Καταχρημνάμεναι πλήρεις ὄμβρου dv ἀνάγκην, 
εἶτα βαρεῖαι 
Eis ἀλλήλας ἐμπίπτουσαι ῥήγνυνται καὶ πατα- 
γοῦσιν. 
ΣΤΡΕΨΙΑΔΗΣ. 
Ὃ & ἀναγκάζων ἐστὲ τίς αὐτάς, οὐχ ὃ Ζευς, ὥστε 
φέρεσθαι; 
- SQRKPATHS. 
“Huot, ἀλλ᾽ αἰϑέριος δῖνος. 
ΣΤΡΕΨΙΑΔΗΣ 
Aivos; τουτί μ᾽ ἐλελήϑη. 380 
Ὃ Ζεὺς οὐχ ὦν, ἀλλ᾽ ἀντ᾽ αὐτοῦ Aivos νυνὶ βα- 
σιλεύων. 
᾿“τὰρ οὐδέν πω περὶ τοῦ πατάγον καὶ τῆς βρον- 
τῆς μ᾽ ἐδίδαξας. 


92 NE@®EAAI 


ΣΩΚΡΑΤΗΣ. 
Οὐκ ἤκουσάς μου tas Νεφέλας ὕδατος μεστὰς ὅτι 
φημὶ 
᾿Εμπιπτούσας εἰς ἀλλήλας παταχγεῖν dia τὴν πυ- 
κνότητα ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Φέρε τουτὶ τῷ χρὴ πιστεύειν ; 
SMLKPATHS. 
"Ano σαυτοῦ ᾽γώ σε διδάξω. 385 
"Hon ζωμοῦ Παναϑηναίοις ἐμπλησϑεὶς εἶτ᾽ ἔτα- 
ράχϑης 
Τὴν γαστέρα, καὶ κλόνος ἐξαίφνης αὐτὴν διξκορ 
κορύγησεν ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Ny τὸν ᾿“πόλλω, καὶ deve ποιεῖ γ᾽ εὐθύς μοι, κα 


τετάρακται 
Xaoneg βροντῇ τὸ ζωμίδιον παταγεῖ καὶ δεινὰ 
κέκραγεν" 
9 4 = \ » PI) ed , 
AToEWwas πρῶτον παππαξ RANMOE, κἂπειτ᾽ ἐπάγει 
παπαπαππάξ, 890 
7,2! 4 «Ὁ (4 4 cr 
Xatav χέζω, κομιδῇ βροντᾷ παπαπαππάξ, ὥσπερ 
ἐκεῖναι. 


22K PATHS. 
“Σχέψαι τοίνυν ἀπὸ γαστριδίου τυννουτουὶ οἷα 
πέπορδας" 
Τὺ δ᾽ >t , δ᾽ Pl 9 2 4 ~ > ’ + 
ὃν δ᾽ ἀέρα τόνδ᾽ OT’ ἀπέραντον, πῶς οὐκ εἰκὸς 
μέγα βροντᾷν; 
Ταῦτ᾽ ἄρα καὶ τὠνόματ᾽ ἀλλήλοιν, βροντὴ καὶ 
/ ς 7 
7000H, ομοίω. 


NE@G@EAAT. 33 


ΣΤΡΕΨΙΑΔΗΣ. 
"AAW ὃ κεραυνὸς πόϑεν αὖ φέρεται λάμπων πυρί, 
τοῦτο δίδαξον, 895 
Καὶ καταφρύγει βάλλων ἡμῶς, τοὺς δὲ ζῶντας 
περιφλύει : 
Τοῦτον yao δὴ pavepos ὃ Ζεὺς ἵησ᾽ ἐπὶ τοὺς ἐπι 


ὄρκους. 
SQKPATHS. 

Kai mas, ὦ μῶρε od καὶ Κρονίων ὄζων καὶ Bex 
κεσέληνε, 

Εἴπερ βάλλει τοὺς ἐπιόρκους, πῶς οὐχὲ Σίμων’ 
> 7 
ἐνέπρησεν 

Οὐδὲ Κλεώνυμον οὐδὲ Θέωρον : καίτοι σφόδρα γ᾽ 
εἴσ᾽ ἐπίορκοι" 400 


"AiG τὸν αὑτοῦ γε νεῶν βάλλει καὶ Σούνιον ἄ- 
2 , 
xoov Adnviov 
Ἁ ‘ ~ Ἁ ’ Ξ ? , 5 3 Ἁ A 
Kat tas devs tas μεγάλας" ti watov; ov vag δὴ 
~~ > ~ 
deus γ᾽ ἐπιορκεῖ. 
ΣΤΡΕΨΙΑΔΗΣ. 
Οὐκ οἶδ᾽. atag εὖ συ λέγειν φαίνει. Τί γάρ ἔστιν 
dnd ὁ κεραυνός; 
ΣΩΚΡΑΤΗΣ. 

Ω 5 , 3 \ X 
Otay eis ταύτας ἄνεμος ξηρὸς μετεωρισϑεὶς xa- 
τακλεισϑῇ, 

"ἔνδοϑεν αὐτὸς ὥσπερ κύστιν φυσᾷ, κἀπειϑ᾽ ὑπ’ 
ἀνάγκης 405 
“Ρήξας αὐταὶς ἔξω φέρεται σοβαρὸς διὰ τὴν πυ- 
κνότηται, 
Ξε Ἅ ΑΘ. Cie δ ‘ ~ Coe 3 Ἃ ε Ἃ 
Υπὸ τοῦ ῥοίβδου καὶ τῆς δύμης AUTOS ἑαυτὸν κα- 
τακαίων. 


34 NE@GEAAT. 


ΣΤΡΕΨΙΑΔΗΣ. 

Νὴ Ai’, ἐγὼ γοῦν ἀτεχνῶς Exadov τουτί ποτε 
ΖΔιασίοισιν. 

"Ratav γαστέρα τοῖς συγγενεσιν, κᾷτ᾽ οὐκ ἔσχων 

7 & 77 rn χ 

ἀμελήσας" 

Ἢ δ᾽ ἄρ᾽ ἐφυσάτ᾽ εἶτ᾽ ἐξαίφνης διαλακήσοσα πρὸς 
αὐτῶ 410 

Τωφϑαλμώ μον προσετίλησεν καὶ κατέκαυσεν τὸ 
πρόσωπον. 
XOPOZ. 


"2 τῆς μεγάλης ἐπιϑυμήσας σοφίας, ὦνθρωπε, 
παρ᾽ ἡμῶν, 

“fs εὐδαίμων ἐν ᾿“ϑηναίοις καὶ τοῖς “λλησι γε- 
νήσει, 

Εἰ μνήμων εἶ καὶ φροντιστὴς καὶ τὸ ταλαίπωρον 
ἔνεστιν 

Ey τῇ ~ \ Ν a l 72" ἐσ Ἂ , B 

ἢ ψυχῇ. καὶ μὴ κάμνεις μήϑ᾽ ἑστῶς μήτε Ba- 

δίζων, 415 

Mite ῥιγῶν ἄχϑει λίαν, μήτ᾽ ἀριστᾷν ἐπιϑυμεῖς, 

Οἴνου τ᾽ ἀπέχει καὶ γυμνασίων καὶ τῶν ἄλλων 


ἀνοήτων, 
Καὶ βέλτιστον τοῦτο νομίζεις, ὅπερ εἰκὸς δεξιὸν 
ἀνδρα, 


Nixay πράττων καὶ βουλεύων καὶ τῇ γλώττῃ πο- 
λεμίζων ; 
ΣΤΡΕΨΙΑΔΗΣ. 
"AA ἕνεκέν γε ψυχῆς στεῤῥᾶς δυσκολοκοίτου τε 
μερίμνης, 420 
Καὶ φειδωλοῦ καὶ τρυσιβίου γαστρὸς καὶ ϑυμβρε- 
πιδείπνου, 


NE@GEAAT. 33 


᾿Αμέλει ϑαῤῥῶν, οὕνεκα τούτων ἐπιχαλκεύειν πα- 
ρέχοιμ᾽ ἄν. 
ΣΩΚΡΑΤΗΣ. 

"Addo τι δῆτ᾽ οὖν νομιεῖς ἤδη ϑεὸν οὐδένα πλὴν 
ἅπερ ἡμεῖς, 

To Χάος τουτὶ καὶ tas Nepéhas καὶ τὴν Γλῶτταν, 
τρία ταυτί; 

ΣΤΡΕΨΙΑΔΗΣ. 
Οὐδ᾽ ἂν διαλεχϑείην γ᾽ ἀτεχνῶς τοῖς ἄλλοις, οὐδ᾽ 


ἂν ἀπαντῶν" 495 
Οὐδ᾽ ἂν ϑύσαιμ᾽, οὐδ᾽ ἂν σπείσαιμ᾽, οὐδ᾽ ἐπιϑείην 
λιβανωτόν. 
ΧΟΡΟΣ. 
““έγε νυν ἡμῖν ὃ τι σοι δρῶμεν ϑαῤῥῶν, ὡς οὐκ 
ἀτυχήσεις, 


‘Huds τιμῶν καὶ ϑαυμάζων καὶ ζητῶν δεξιὸς εἶναι. 
ΣΤΡΕΨΙΑΔΗΣ. 
*2 δέσποιναι, δέομαι τοίνυν ὑμῶν tovti πάνν μι- 


/ 
κρόν, 
2 ~ > 7 ’ A ’ 
Τῶν ᾿λλήνων εἶναί με λέγειν ἑκατὸν σταδίοισιν 
ἄριστον. 430 
ΧΟΡΟΣ. 


AW ἔσται σοι τοῦτο παρ᾽ ἡμῶν" wotE τὸ λοιπόν 
γ᾽ ἀπὸ τουδὲ 
“Ev τῷ δήμῳ γνώμας οὐδεὶς νικήσει πλείονας ἢ σύ. 
ΣΤΡΕΨΙΑΔΗΣ. 
la , , 7 , 3 ‘ 7 
My μοί γε λέγειν γνώμας μεγάλας" οὐ γὰρ τούτων 
ἐπιϑυμώ, 
3 i ae ~ ~ \ X , 
Ah’ 06° ἐμαυτῷ στρεψοδικῆσαι καὶ τοὺς γρήστας 
διολισϑεῖν. 


30. NEDEAAT. 


ΧΟΡΟΣ. 


Τεύξει τοίνυν ὧν ἱμείρεις" ov yao μεγάλων ἐπι- 


ϑυμεῖς. 


435 


"AAG σεαυτὸν παράδος ϑαῤῥῶν τοῖς ἡμετέροις 


/ 
προπόλοισι. 
ΣΤΡΕΨΙΑΔΗΣ. 


Aodow τοῦϑ᾽ ὑμῖν πιστεύσας" ἡ γοὺρ ἀνάγκη μὲ 


πιέζει 


ἶ \ eae 2 \ ? \ δ ,ὔ co] 
Διὰ τους ἱππους τους KOTTTTATLAS και TOV γάμον, ος 


Ww ἐπέτριψεν. 
Νῦν οὖν χρήσϑων ὅ τι βούλονται. 
Τουτὶ τό γ᾽ ἐμὸν caw αὐτοῖσιν 
Παρέχω τύπτειν, πεινῆν, διψῇν, 
Avyusiv, ῥιγῶν, ἀσκὸν δαίρειν, 
Εἴπερ ta χρέα διαφευξοῦμαι, 
Τοῖς ἀνθρώποις τ᾽ εἶναι δόξω 
Θρασύς, εὔγλωττος, τολμηρός, ἴτης, 
Βδελυρός, ψευδῶν συγκολλητής, 
Εὑρησιεπής, περίτριμμα δικῶν, 
Κύρβις, κρόταλον, xivados, τρύμη, 
Μηάσϑλης, εἴρων, γλοιός, ἀλαζών, 
Κέντρων, μιαρός, στρόφις, ἀργαλέος, 
Λαττνολοιχός. 
Ταῦτ᾽ εἴ με καλοῦσ᾽ ἀπαντῶντες, 
Agarvtay ἀτεχνῶς 6 τι χγρήζουσιν" 
Ket βούλονται, 
Ny τὴν 4ήμητρ᾽ ἕκ μου χορδὴν 
Τοῖς φροντισταῖς παραϑέντων. 

XOPOS. 
Ane μὲν πάρεστι τῷδέ γ᾽ 


440 





ee - ------ --.- -- - .-- τ ιν τ το δα 


NE@DEAAT. 37 


Οὐκ ἄτολμον, ἀλλ᾽ ἕτοιμον. “Todt δ᾽ ὡς 

Tavita μαϑῶν παρ᾽ ἐμοῦ κλέος οὐρανόμηκες 

Εν βροτοῖσιν ἕξεις. 460 
STPEWIAAHS. 

Tt πείσομιιαι ; 

AO PO. 

Tov πάντα χρόνον μετ᾽ ἐμοῦ 

Ζηλωτότατον βίον ἀνϑρώπων duobets. 
ΣΤΡΕΨΙΑΔΗΣ. 


*Aod γε τοῦτ᾽ ἄρ᾽ ἐγώ ποτ᾽ ὄψομαι; 465 
ΧΟΡΟΣ. 
“(2στε γε σοῦ πολλοὺς ἐπὶ ταῖσι ϑύραις ἀεὶ aa 
otal, 
Βουλομένους ἀνακοινοῦσθϑαί τε καὶ ἐς λόγον ἐλ- 
θεῖν, 470 


Πράγματα κἀντιγραφος πολλῶν ταλάντων 
! ~ ‘ ~ 
“Agia on poevi συμβουλευσομένους meta σοῦ. 475 
‘AAW ἐγχείρει τὸν πρεσβύτην 6 τι περ μέλλεις 
προδιδάσκειν, 
Καὶ διακίνει τὸν νοῦν αὐτοῦ, καὶ τῆς γνώμης 
ἀποπειρῶ. 
ΣΩΚΡΑΤΗΣ. 
μὰ , / l4 ‘ Ἁ = , 
Ayé 3H, κάτειπε μοι GU TOY σαυτοῦ τρόπον, 
“Iv” αὐτὸν εἰδῶς ὅστις ἐστὲ μηχανὸὲς 
2! ἅν» ἢ , \ ’ \ Fr 
ἤδη ?mt τούτοις πρὸς σὲ καινοῖς προσφέρω. 180 
ΣΤΡΕΨΙΑΔΗΣ. 
Τί δέ ; τειχομαχεῖν μοι διανοεῖ, πρὸς τῶν ϑεῶν ; 
ΣΩΚΡΑΤΗΣ. 
Οὔκ, ἀλλὰ βραχέα σου πυϑέσϑαι βούλομαι, 
4 


oh) 


ὃ NE@EAAT. 


Εἰ μνημονικὸς εἶ. 
ΣΤΡΕΨΙΑΔΗΣ. 
Avo τρόπω νὴ τὸν Ζία" 
“Hy μέν γ᾽ ὀφείληταί τί μοι, μνήμων πάνυ" 
᾽Εὰν δ᾽ ὀφείλω, σχέτλιος; ἐπιλήσμων πάνυ. 49 
ΠῚ ΟΠ 
"Eveott δητά σοι λέγειν ἐν τῇ φύσει; 
ΣΤΡΕΨΙΑΔΗΣ. 
“1έγειν μὲν οὐκ ἔνεστ᾽, ἀποστερεῖν δ᾽ ἕνι. 
ΣΩΚΡΑΤΗΣ. 
Πῶς οὖν δυνήσει μανϑάνειν ; 
STPEWIAAHS. 
᾿“μέλει, καλώς. 
SQKPATHS. 
" Aye νυν ὅπως, ὅταν τι προβάλωμαι σοφὸν 
Περὲ τῶν μετεώρων, εὐϑέως ὑφαρπάσει. 490 
ΣΤΡΕΨΙΑΔΗΣ. 
Tt δαί; κυνηδὸν τὴν σοφίαν σιτήσομαι; 
TNKPATHS. 
᾿“νϑρωπος duadys οὑτοσὶ καὶ βάρβαρος, 
Aédond σ᾽, ὦ πρεσβῦτα, μὴ πληγῶν δέει. 
Dig’ ἴδω, ti δρᾷς, ἥν τίς σε τύπτῃ ; 
ΣΤΡΕΨΙΑΔΗΣ. τ 
Ἵσπτομαι, 
Καπειτ᾽ ἐπισχὼν ὀλίγον ἐπιμαρτύρομαι, 495 
Eiv’ avdis ἀκαρὴ διαλιπὼν δικάζομαι. 
ΣῺ ΚΡΑΤῊΣ. 
"Tht νυν, κατάϑου ϑοἰμάτιον. 
ΣΤΡΕΨΙΑΖΊΙΣ. 
᾿Ηδίκηκά τι; 


ΝΕ ΦΙΕἍ.41.-. 39 


ΣΩΚΡΑΤΗΣ. 
Ovx, ἀλλὰ γυμνοὺς εἰσιέναι νομίζεται. 
ΣΤΡΕΨΙΑΔΗΣ. 
3 Ah}? οὔ" \ , ” 9 ΤΡ 
AWN οὐχὲ φωράσων ἔγωγ᾽ εἰσέργομαι. 
ΣΩΚΡΑΤΗΣ. 
Κατάϑου " τί ληρεῖς ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Εἰπὲ δή νύν μοι τοδί" 500 
“Hy ἐπιμελὴς ὦ καὶ προϑύμως μανϑάνω, 
- ~ ~ > x / 
Τῷ τῶν μαϑητῶν ἐμφερὴς γενήσομαι; 
ΣΩΚΡΑΤΗΣ. 
Οὐδὲν διοίσεις Χαιρεφῶντος τὴν φύσιν. 
ΣΤΡΕΨΙΑΔΗΣ. 
Οἴμοι κακοδαίμων, ἡμιϑνὴς γενήσομαι 
ol ‘ 2 1 | 7 | μ Pr 
2 EATS 
Οὐ μὴ λαλήσεις, GAM ἀκολουϑήσεις ἐμοὲ 505 
‘Avioas τι δευρὲ ϑάττον. 
ΣΤΡΕΨΙΑΔΗΣ. 
3 4 ~ *F 
Es ta χεῖρέ νυν 
Mos μοι μελιτοῦτταν πρότερον" ὡς δέδοικ᾽ ἐγὼ 
Εἴσω καταβαίνων ὥσπερ εἰς Τροφωνίου. 
ΣΩΚΡΑΤΗΣ. 
X¢ si dak : (ζε ” eh \ 9 , ᾿ 
ὦρει" τί κυπτάζεις ἔχων περὶ τὴν ϑύραν ; 
XOPOS. 
‘AAV ἴϑι χαίρων τῆς ἀνδρείας 510 
Οὕνεκα ταύτης. 
Εὐτυχία γένοιτο tay- 
θρώπῳ, ὅτι προήκων 
t 
‘Es Batu τῆς ἡλικίας, 
Ὑ Ν , c Ν 
Νεωτέροις τὴν φύσιν αὖ 


ὧν 
bead 
c 


40 NE@EAAT. 


τοῦ πράγμασιν γροωτίζεται 

Kat σοφίαν ἐπασκεῖ. 

*2 ϑεώμενοι, xatTEQ@ πρὸς ὑμᾶς ἐλευϑέρως 
Τἀληϑῆ, vn τὸν Διόνυσον τὸν ἐκϑρέψαντά με. 

«“ ,ὔ 2 Sige fa \ Z Υ - 
Οὕτω νικήσαιμί τ᾽ Eva καὶ νομιζοίμην σοφός, 520 
᾿μς ὑμᾶς ἡγούμενος εἶναι ϑεατὰς δεξιους 
Καὶ ταύτην σοφώτατ᾽ ἔχειν τῶν ἐμῶν κωμῳδιῶν, 

, ὌΠ ΤΩ 4,....5 pee, εἰς. a [δ ῇ 
Heatovs ἠξίωσ᾽ ἀναγεύσ᾽ ὑμᾶς, ἢ παρέσχε μοι 
~ v > ? ~ 
"Eoyov πλεῖστον " εἶτ᾽ ἀνεχώρουν ὑπ᾽ ἀνδρῶν 


φορτικῶν 
ε 2 > 5! 327 ~ 3 τ ¢ αν ; 
Ἠττηϑείς, οὐκ ἄξιος wv: ταῦτ᾽ οὐν ὑμῖν μέμφο- 
μαι 525 


Τοῖς σοφοῖς, av οὕνεκ᾽ ἐγὼ ταῦτ᾽ ἐπραγματευόμην. 

᾿,“λλ᾽ οὐδ᾽ ὥς ὑμῶν ποϑ' Exav προδώσω τοῦς δε- 
ξιούς. 

“EE ὅτου γὰρ ἐνθάδ᾽ ὑπ᾽ ἀνδρῶν, ois ἡδυ καὶ λέ- 
γειν, 

E r > , 2 aaa , 

Ο σώφρων τε ya καταπύγων ἄριστ᾽ ἠκουσάτην, 

Kaya, παρϑένος γὰρ év’ 4, xovx ἐξὴν πώ μοι 
TEXELY, 530 

᾿Εξέϑηκα, παῖς δ᾽ ἑτέρα τις λαβοῦσ᾽ ἀνείλετο, 

€ ~ ἣν δ Ie 7 2 7 

γμεῖς δ᾽ ἐξεϑρέψατε γενναίως καπαιδεύσατε:" 

‘Ex τούτον μοι πιστὸ παρ᾽ ὑμῖν γνώμης Eco? 
δρκια. 

Novy οὖν ᾿ΗΠλέχτραν κατ᾽ ἐκείνην 40 ἡ κωμῳδία 

Ζητοῦσ᾽ ἦλϑ᾽ ἤν που ᾿πιτύχῃ ϑεαταῖς οὕτω σο- 


φοῖς" 535 
Ivacetar γάρ, ἤνπερ ἴδῃ, τἀδελφοῦ tov βόστρυ- 
yor. 


€ ‘ , ~ 
“ὃς δὲ σώφρων ἐστὶ φύσει σκέψασϑ᾽. ἥτις πρῶτα 


μεν 


NE@GDBEAAT. 4] 


Οὐδὲν ἦλϑε δαψαμένη σκύτινον καϑειμένον, 
᾿Ερυϑρὸν ἐξ ἄκρου, παχύ, τοῖς παιδίοις ἵν᾽ ἢ γέλως" 
Οὐδ᾽ ἔσκωψε τοὺς φαλακρούς, οὐδὲ κόρδαχ᾽ εἵλκυ- 
σεν, 540 
Οὐδὲ πρεσβύτης ὁ λέγων τἄπη τῇ βακτηρίᾳ 
Tvntel τὸν παρόντ᾽, ἀφανίζων πονηρὸ σκώμματα, 
Οὐδ᾽ εἰσῃξε δᾷδας ἔχουσ᾽, οὐδ᾽ tov ἰου βοᾷ, 
‘AN αὑτῇ καὶ τοῖς ἔπεσιν πιστεύαυσ᾽ ἐλήλυϑεν. 
Κἀγὼ μὲν τοιοῦτος ἀνὴρ ὧν ποιητὴς οὐ κομῶ, 545 
Οὐδ᾽ ὑμᾶς ζητῶ ᾽ξαπατᾷν δὶς καὶ τρὶς ταῦτ᾽ εἰσά- 
yor, 
‘AAV ἀεὶ καινὸς ἰδέας εἰσφέρων σοφίζομαι, 
Οὐδὲν ἀλλήλαισιν ὁμοίας καὶ πάσας δεξιάς" 
Ὃς μέγιστον ὄντα Κλέων᾽ ἔπαισ᾽ εἰς τὴν γαστέρα, 
Κούκ ἐτόλμησ᾽ αὖϑις ἐπεμπηδῆσ᾽ αὐτῷ κειμέ- 
vO. 550 
Οὗτοι δ᾽, ὡς ἅπαξ παρέδωχεν λαβὴν “Ὑπέρβολος, 
Τοῦτον δείλαιον κολετρώσ᾽ ἀεὶ καὶ τὴν μητέρα. 
Εὔπολις μὲν τὸν Magixay πρώτιστον παρείλκυσεν 
᾿Εκστρέψας τοὺς ἡμετέρους “Ιππέας κακὸς κακῶς, 
Προσϑεὶς αὐτῷ γραῦν μεϑύσην τοῦ xdedaxos οὕ- 
vex, ἣν 555 
Φρύνιχος πάλαι πεποίηχ᾽, ἣν TO κῆτος Hooter. 
Εἶϑ᾽ “Ερμιππος αὖϑις ἐποίησεν εἰς “Ὑπέρβολον, 
"Ἄλλοι τ᾽ ἤδη πάντες ἐρείδουσιν εἰς “Ὑπέρβολον, 
Τὰς εἰχουὺς τῶν ἐγχέλεων tas ἐμοὶς μιμούμενοι. 
Ὅστις οὖν τούτοισι γελᾷ, τοῖς ἐμοῖς μὴ χαιρέ- 
τῶ" 560 
“Hy δ᾽ ἐμοὶ καὶ τοῖσιν ἐμοῖς εὐφραίνησϑ᾽ εὑρή- 
μασιν, 
4" : 


42 NE@GEAAT. 


Es tds ὥρας tds ἑτέρας εὖ φρονεῖν δοκήσετε. 
᾿γψιμέδοντα μὲν ϑεών 

Ζῆνα τύραννον ἐς χορὸν 

Πρῶτα μέγαν κικλήσκω" 565 
Tov τε μεγασϑενὴ τριαίνης ταμίαν, 

- \ Ce ~ vA ” , Ξ 
Γῆς τε καὶ ἁλμυρᾶς ϑαλάσσης ἄγριον μοχλευτὴν 
Kal μεγαλώνυμον ἡμέτερον πατέρ᾽, 

2 , 

Aitéon σεμνότατον, βιοϑρέμμονα πάντων" 570 
4 SG , [4] ς 
Tov ϑ᾽ ἱππονῶμαν, ὃς υπερ- 
λάμπροις ἀκτῖσιν κατέχει 
Ins πέδον, μέγας ἐν ϑεοῖς 
Εν ϑνητοῖσι τε δαίμων. 
"2 σοφώτατοι ϑεαταί, δεῦρο τὸν νοῦν πρόσχετε. 5% 
᾿Πδικημέναι γὰρ ὑμῖν μεμφόμεσϑ᾽ ἐναντίον" 
Πλεῖστα γὰρ ϑεῶν ἁπάντων ὠφελούσαις τὴν πόλιν, 
Ζαιμόνων ἡμῖν μόναις ov ϑύετ᾽ οὐδὲ σπένδετε, 
Aitves τηροῦμεν ὑμᾶς. “Hy yao ἢ τις ἔξοδος 
Ν ~ , 5 ~ 
Mnysevi ξὺν va, tov’ ἢ βροντῶμεν ἢ ψακάζομεν. 580 
Εἶτα τὸν ϑεοῖσιν ἐγϑρὸν βυρσοδέψην Παφλαγόνα 
᾿Πνίχ᾽ ἡρεῖσϑε στρατηγόν, tas ὀφρῦς συνήγομεν 
Καποιοῦμεν δεινά" βροντῃ δ᾽ ἐῤῥάγη dv ἄστρα- 
πῆς" 

‘HT σελήνη δ᾽ ἐξέλειπε tas ὁδούς" ὁ δ᾽ ἥλιος 

THv ϑρυαλλίδ᾽ εἰς ἑαυτὸν εὐθέως ξυνελκύσας 585 
Ov φανεῖν ἔφασκεν ὑμῖν, εἰ στρατηγήσει KiAéav. 
‘AAV ὅμως εἵλεσϑε τοῦτον" φασὶ γὰρ δυσβουλίαν 
Τῇδε τῇ πόλει προσεῖναι, ταῦτα μέντοι TOUS ϑεοὺς 
ΜΕ 9 rN € ~ > / 9 Dixon \ 4 , 

TU’ ἂν ὑμεῖς ἐξαμάρτητ᾽, Ext τὸ βέλτιον τρέπειν. 

“ὃς δὲ καὶ τοῦτο ξυνοίσει ῥᾳδίως διδάξοιιεν. δ90 


NEGEAAT. 43 


“Hy Κλέωνα tov λάρον δώρων ἕλόντες καὶ κλοπῆς, 
Εἶτα φιμώσητε τούτου τῷ ξύλῳ τὸν αὐχένα, 
Avs ἐς τἀρχαῖον ὑμῖν, εἴ τι καξημάρτετε, 
> \ \ 7 Ἁ tact = ΄ 7 
Ent to βέλτιον τὸ πράγμα TH πόλει συνοίσετα!. 
᾿“μφί μοι αὖτε, Φοῖβ᾽ ἄναξ 595 
Ay, Κυνϑίαν ἔχων 
“Ὑψικέρατα πέτραν" 
ὝἭ τ᾽ ᾿Εφέσου μάκαιρα πάγχρυσον ἔχεις 
Οἶχον, ἐν ᾧ κόραι σε Aviary μεγάλως σέβουσιν" 600 
“ΠΗ͂ 9 2 , Ὁ Ls 4 

τ᾽ ἐπιχώριος ἡμετέρα Feos, 
Aividos ἡνίοχος, πολιοῦχος “Atava: 
Παρνασίαν ϑ᾽ ὃς κατέχων 
Πέτραν σὺν πεύκαις σελαγεῖ 
Βάκχαις Aehpiow ἐμπρέπων, 605 
Κωμαστὴς Ζιόνυσος. 
‘Hyig? ἡμεῖς δεῦρ᾽ ἀφορμᾶσϑαι παρεσχενάσμεϑα, 
“ΗΠ Σελήνη συντυχοῦσ᾽ ἡμῖν ἐπέστειλεν godoat, 

- bY ? > , \ ~ 4 

Πρῶτα μὲν χαίρειν “Adnvatoro καὶ τοῖς ξυμμά- 
χοις" 

Εἶτα ϑυμαίνειν ἔφασκε" δεινὸ yao πεπονϑέναι, 610 

“Rpehove’ ὑμᾶς ἅπαντας, οὐ λόγοις, ἀλλ᾽ ἐμφα- 
70S,— 

~ * ~ x > N9 > 5) δ 
Πρῶτα μὲν τοῦ μὴνος εἰς δᾷδ᾽ οὐκ ἔλαττον 1) δρα- 

/ 
AEG s 
t \ | aes c 2 / c 4 
Store καὶ λέγειν ἅπαντας ἐξιόντας ἑσπέρας, 

\ 7 ~ ~Q9 2 Ἀ ~ Ζ΄ - 
My πρίῃ, παῖ, δᾷδ᾽, ἐπειδὴ φῶς Σεληναίης καλον. 
oy] > ~ <n τὰ > ” \ 

Ahia τ᾽ εὖ δρᾷν φησιν, vuas δ᾽ οὐκ ἄγειν tas 
ἡμέρας 615 

Οὐδὲν ὀρϑῶς, ἀλλ᾽ ava τε καὶ κάτω κυδοιδοπᾶν" 

Ὥστ᾽ ἀπειλεῖν φησιν αὐτῇ τοὺς ϑεοὺς ἑκάστοτε 


44 NE@GEAAT. 


᾿Ηνίκ᾽ av ψευσϑώῶσι δείπνου, καπίωσιν οἴκαδε 
oe LS 2 ‘ / XN 7 oy ¢ ἷκε 
Tns ἑορτῆς μὴ τυχόντες κατὸ λόγον τῶν ἡμερῶν. 
τ σ , ~ a 
Ke? ὅταν ϑύειν δέῃ, στρεβλοῦτε καὶ δικάζετε" 620 
f Lit as ~ 3 , ~ ~ > ͵΄ 
Πολλάκις δ᾽ ἡμῶν ἀγόντων τῶν teav ἀπαστίαν. 
“Ηνίκ᾽ ἂν πενϑῶμεν ἢ τὸν Μέμνον᾽ ἢ Σαρπη- 
δόνα, 
“Σπένδεϑ᾽ ὑμεῖς καὶ γελᾶτ᾽ - ἀν ϑ' ὧν λαχὼν “Ὑπέρ- 
βολος 
~ c rs ” 9 ΄ 9 c ~ ~ ~ 
Tites ἱερομνημονεῖν, καπειϑ᾽ ὑφ᾽ ἡμῶν τῶν ϑεῶν 
Ν , > bs = \ cr a4 
Tov στέφανον ἀφῃρέεϑη" μάλλον yao οὕτως ét- 
σεται 625 
Ν 7 « aI XN ἊΨ 7 Ν « , 
Κατὰ σελήνην ὡς ἄγειν yon tov βίου tas ἡμέρας. 
SK PAPHS. 
Ma τὴν Avanvony, ua τὸ Χάος, μοὶ tov ᾿Δέρα, 
Οὐκ εἶδον οὕτως ἄνδρ᾽ ἄγροικον οὐδένα 
Οὐδ᾽ ἄπορον οὐδὲ σκαιὸν ovd ἐπιλήσμονα" 
Ὅστις σκαλαϑυρμάτι᾽ ἄττα μικρὰ μανϑάνων, 630 
‘dee, LE lg \ i eS cf XN 
7 αὔτ᾽ ἐπιλέλησται πρὶν μαϑεῖν" owas ye μὴν 
«αὐτὸν καλώ ϑύραζε δευρὶ πρὸς τὸ φώς. 
Ποὺ Στρεψιάδης ; ἔξει τὸν ἀσχκάντην λαβών. 
ΣΤΡΕΨΙΑΔΗΣ. 
“ALN οὐκ éaot μ᾽ ἐξενεγκεῖν οἱ κόρεις. 
SAKPATHS. 
? f , , \ , \ ~ 
«νύσας TL κατάϑου, καὶ πρόσεχε TOY νοῦν. 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿]δού. 635 
SNKPATHS. 
) ~ 
‘Aye δή, ti βούλει πρῶτα vuvi μανϑάνειν 
Y 3 
Rv οὐκ ἐδιδάχϑης πώποτ᾽ οὐδέν; εἰπέ μοι. 
4 ~ ~ 
Πότερα περὲ μέτρων ἢ περὶ ἐπῶν ἢ ῥυϑμῶν ; 


NE@DEAAT. 45 


ΣΤΡΕΨΙΑΔΗΣ. 
Περὶ τῶν μέτρων ἔγωγ᾽" ἔναγχος γάρ ποτε 
‘Tw’ ἀλφιταμοιβοῦ παρεκόπην διχοινίκῳ. 040 
SQKPATHS. 
Οὐ τοῦτ᾽ ἐρωτῶ ο᾽, ἀλλ᾽ ὅ τι κάλλιστον μέτρον 
᾿“Ηγεῖ: πότερον τὸ τρίμετρον ἢ τὸ τετράμετρον ; 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿Εγὼ μὲν οὐδὲν πρότερον ἡμιεκτέου. 
ΣΏΚΡΑΤΗΣ. 
Οὐδὲν λέγεις, ὦ ᾽νϑρωπε. 
ΣΤΡΕΨΙΑΔΗΣ. 
ITegidov νυν ἐμοί, 
Εἰ μὴ τετράμετρόν ἔστιν ἡ μιεκτέον. 645 
ΣΩΚΡΑΤΗΣ: 
“Es κόρακας, ὡς ἄγροικος εἶ καὶ δυσμαϑής. 
Ταχὺ δ᾽ ἂν δύναιο μανϑάνειν περὶ δυϑιμιῶν. 
ΣΤΡΕΨΙΑΔΗΣ. 
Ti δέ w ὠφελήσουσ᾽ οἱ δυϑμοὶ πρὸς τἄλφιτα; 
SNK PATHS. 
Πρῶτον μὲν εἶναι κομψὸν ἐν συνουσίᾳ, 
᾿Επαΐονϑ᾽ ὁποῖός ἐστι τῶν δυϑμῶν | 650 
Kat’ ἐνόπλιον, χὠποῖος av xata δάκτυλον. 
ΣΤΡΕΨΙΑΔΗΣ. 
Κατὰ δάκτυλον ; νὴ tov At’ ἀλλ᾽ οἶδ᾽. 
ΣΩΚΡΑΤΗΣ. 


ε 


Εἰπὲ δή. 
ΣΤΡΕΨΙΑΔΗΣ. 
Tis ἄλλος ἀντὶ τουτουΐ τοῦ δακχτύλου : 
Πρὸ τοῦ μὲν, ἔτ᾽ ἐμοῦ παιδὸς ὄντος, οὑτοσί. 


40 NEBDEAAT. 


SNKPATHS. 
3 ~ > \ te 
Ayoetos εἴ καὶ σκαιός 
ΣΤΡΕΨΙΑΔΗΣ. 
Οὐ γὰρ, φζυρέ, 655 
Τούτων ἐπιϑυμῶ μανϑάνειν οὐδέν. 
ΣΩΚΡΑΤΗΣ. 
Τί dat; 
ΣΤΡΕΨΙΑΔΗΣ. 
3 ~ 9 2? ~ ‘ 3 If / 
Exeiv’ ἐκεῖνο, tov ἀδικώτατον λόγον. 
ΣΩΚΡΑΤΗΣ. 
"ALN ἕτερα δεῖ σε πρότερα τούτων μανϑάνειν, 
~ , a 9 > \ 3 ~ ELC 
Tav τετραπόδων att’ ἐστὶν ορϑῶς ἄῤῥενα. 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿Αλλ’ οἵδ᾽ ἔγωγε TAGGED’, εἰ UN μαίνομαι" 660 
Kot0os, τράγος, ταῦρος, κύων, ἀλεκτρυών. 
ΣΩΚΡΑΤΗΣ. 
Ὁρᾷς ὃ πάσχεις ; τήν τε ϑήλειαν καλεῖς 
3 ’ ‘ PrN \ Ἁ ΘΙ Ὁ 
«λεκτρνόνα κατὰ ταῦτὸ καὶ τὸν ἄῤῥενα. 
Ride ΣΤΡΕΨΙΑΔΗΣ. 
“Πῶς δή ; φέρε. 
ΣΙ ΚΡΆΤΗΣ. 
Πῶς; ἀλεκτρυὼν κἀλεχτρυών. 
ΣΤΡΕΨΙΑΔΗΣ. 
Ny τὸν Ποσειδῶ. Νῦν δὲ πῶς we χρὴ καλεῖν; 665 
SAK PATHS. 
᾿“λεκτρύαιναν, τὸν δ᾽ ἕτερον ἀλέχτορα. 
ΣΤΡΕΨΙΑΖΔΗΣ. 
3 > \ 
Alextovaway ; εὖ γε νὴ tov ᾿Δέρα" 
iad ? ~ 
Sov ἀντὶ τούτου tov διδάγματος μόνον 
Διαλφιτώσω cov κύκλῳ τὴν κάρδοπον. 


NE@G@EA LZ AT 


ΣΩΚΡΑΤΗΣ. 
᾿Ιδοὺ μάλ᾽ avidis τοῦϑ'᾽ ἕτερον" τὴν κάρδοιτον 670 
"᾿Α,ῤῥενα καλεῖς, ϑήλειαν οὖσαν. 
ΣΤΡΕΨΤΑΔΗΣ. 
~ , 
Τῷ τρόπῳ 
t [ 
? ~ ‘ , 
"160Eva καλῶ "yo κάρδοπον ; 
SNKPATHS. 
. . “Ἥηιαλιστά γε, 
“Ὥσπερ γε καὶ Κλεώνυμον. 
ΣΤΡΕΨΙΑΔΗΣ. 
Πώς δή; φράσον. 
; S2QK PATHS. 
Ταὐτὸν δύναταΐ σοι κάρδοπος Κλεωνύμῳ. 
ΣΤΡΕΨΙΑΔΗΣ. 
‘AV, ὦ ᾽γάϑ', οὐδ᾽ Hv κάρδοπος ΓΕ 675 
"AM ἐν ϑυείᾳ στρογγύλῃ '᾽νεμάττετο. 
°Atdg τὸ λοιπὸν πώς με γρὴ καλεῖν ; 
ΣΩΚΡΑΤΗΣ. 
“Ὅπως; 
Ἁ , 
Tyv καρδόπην, ὥσπερ καλεῖς τὴν Σωστράτην. 
ΣΤΡΕΨΙΑΔΗΣ. 
Τὴν eee ϑήλειαν ; 
ΣΩΚΡΑΤΗΣ 
᾿Ορϑῶς yoo λέγεις. 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿Εκεῖνο δ᾽ ἦν ἂν, καρδόπη, Κλεωνύμη. 
TNKPATHS. 
"Eu δή γε περὶ τῶν ὀνομάτων μαϑεῖν σε δεῖ, 
Atv ἄῤῥεν᾽ ἐστίν, ἅττα δ᾽ αὐτῶν ϑήλεα. 


48 ‘NEOE Asa: 


ΣΤΡΕΨΙΑΔΗΣ. 
"AAW οἶδ᾽ ἔγωγ᾽ ἃ ϑήλε᾽ ἐστίν. 
SQKPATHS. 
Εἰπὲ δή. 
ΣΤΡΕΨΙΑΔΗΣ. 
“ύσιλλα, Φίλιννα, Κλειταγόρα, Anuntoia. 
SQRKPATHS. 
"Adbeva δὲ ποῖα τῶν ὀνομάτων ; 
ΣΤΡΕΨΙΑΔΗΣ. 


Ὕιρία: 685 
Φιλόξενος, Mehnoias, “Auvvias. 
ΣΩΚΡΆΤΗΣ. Ἶ 
"ALM, ὦ πονηρέ, ταῦτά γ᾽ ἐστ᾽ οὐκ ἄῤῥενα. 


ΣΤΡΕΨΙΑΔΗΣ 
3 ἜΣ: 9 ΄ ~ > 
Ουκ ἀῤῥεν᾽ ὑμῖν ἔστιν ; 
ΣΩΚΡΑΤΗΣ. 
Οὐδαμώς γ᾽, ἐπεὶ 
Πῶς ἂν καλέσειας ἐντυχῶν ᾿Δμυνίᾳ; 
ΣΤΡΕΨΙΑΔΗΣ. 


“Ὅπως ἄν; ὡδὶ, δεῦρο δεῦρ᾽, _Auvvia. 600 
SNK PATHS. 
“Ὁρᾷς ; γυναῖκα τὴν ᾿“Ιμυνίαν καλεῖς. 
ΣΤΡΕΨΙΑΔΗΣ. 
” 4 c > , 
Ovxovy δικαίως, TLS OV στρατεύεται ; 
3 \ 7 “as ἐπὶ ’ »” ᾿ ’, 
“ἴταρ τί ταυϑ' ἃ πᾶντες LomsY μανϑανω ; 
SAKPATHS. 
Οὐδὲν wa Mi’, ἀλλὰ κατακλινεὶς δευρὶ 
ΣΤΡΕΨΙΑΔΗΣ. 
, ~ 
Tt δρῶ; 
SNKPATHS. 
695 


32 ~ ~ 
Expoovicéy τι τῶν σεαυτοῦ πραγμάτων. 


NE@OEAAT., 


ZTPEPIAAHS. 


49 


My δηϑ', ἱκετεύω σ᾽, ἐνθάδ᾽ - ἀλλ᾽ εἴπερ γε χρή; 


“Χαμαί μ᾽ ξασον αὐτὸ ταῦτ᾽ ἐχφροντίσαι. 
ΞΕ ΡΆΤΗΣ., 
Οὐκ ἔστι παρὸ ταῦτ᾽ ἄλλα. 
ΣΤΡΕΨΙΑΔΗΣ. 


Κακοδαίμων ἐγώ, 


Ο ’ ~ 7 , 
Οἵαν δίκην τοῖς κόρεσι δώσω τήμερον. 
ΧΟΡΟΣ: 


Φρόντιζε δὴ καὶ διάϑρει, πάντα τρόπον τε σαυ- 


τὸν 
“Στρόβει πυκνώσας. 
Tayvs δ᾽, ὅταν εἰς ἄπορον πέσῃς, 
‘En’ ἄλλο πήδα 


700 


δημα φρενός" ὕπνος δ᾽ ἀπέστω γλυκύϑυμος ou- 


μάτων. 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿]ατταταῖ ἰατταταῖ. 
ΧΟΡΟΣ. 
Τί πάσχεις ; τί κάμνεις ; 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿Ζ“΄πόλλυμαι δείλαιος" ἔκ τοῦ σχίμποδος 
Aduvovot w ἐξέρποντες οἱ Κορίνϑιοι, 
Καὶ τὰς πλευρὰς δαρδάπτουσιν 
Kai τὴν ψυχὴν ἐχπίνουσιν, 
Καὶ τοὺς ὄρχεις ἐξέλκουσιν, 
Kai τὸν πρωκτὸν διορύττουσιν, 
Καί μ᾽ ἀπολοῦσιν. 
ΧΟΡΟΣ. 
Mi νυν βαρέως ἄλγει λίαν. 
5 


705 


707 


715 


90 NEQ@DBEAAT. 


ΣΤΡΕΨΙΑΔΗΣ. 
Καὶ πῶς; ὅτε μου 
Φροῦδα τὼ χρήματα, φρούδη χροιά, 
Φρούδη. ψυχή, φρούδη δ᾽ ἐμβάς" 
Καὶ πρὸς τούτοις ἔτι τοῖσι κακοῖς 
Φρουρᾶς ᾷἄδων 
᾿Ολίψουν φροῦδος γεγένημαι. 
ΣΩΚΡΑΤΗΣ. 
Οὗτος, τί ποιεῖς ; οὐχὶ φροντίζεις ; 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿Εγώ; 
Ny τὸν Ποσειδω. 
ΣΩΚΡΑΤΗΣ. 
Kai τί dnv’ ἐφρόντισας ; 
ΣΤΡΕΨΙΑΔΗΣ. 
“Ὑπὸ τῶν κόρεων εἴ μού τι περιλειφϑήσεται. 
ΣΟ ΚΡΆΤΗΣ: 
* Anokei κακιστ᾽. 
ΣΤΡΕΨΙΑΔΗΣ. 


725 


᾿Αλλ’, ὦ ᾿γάϑ', ἀπόλωλ᾽ ἀρτίως. 


ΣΩΚΡΑΤΗΣ. 

Οὐ μαλϑακιστέ᾽, ἀλλὰ περικαλυπτέα. 
᾿Εξευρετέος γὰρ νοῦς ἀποστερητικὸς 
Κἀπαιόλημ᾽. 

ΣΤΡΕΨΙΑΔΗΣ. 

Οἴμοι. τίς ἂν dy ἐπιβάλοι 

"EE ἀρνακίδων γνώμην ἀποστερητρίδα ; 

SONRKPATUS: 
Φέρε νυν, ἀϑρήσω πρῶτον, ὃ τι deg, τουτονί. 
Οὗτος, καϑεύδεις ; 


NE@GDEAAT. 


qn 
— 


ΣΤΡΕΨΙΑΔΗΣ. 
Me τὸν *Anchho yo μὲν ov. 
ΣΩΚΡΑΤΉΣ. 
"ἔχεις τι; 
ΣΤΡΕΨΙΑΔΗΣ. 
y A - > “ ” 9 
Ma At’ οὐ δητ᾽ ἔγωγ᾽, 
ΣΩΚΡΑΤΗΣ. 
Οὐδὲν πάνυ ; 
ΣΤΡΕΨΙΑΔΗΣ. 
“6, ἢ Χ ἋἋ \ lf > oe om 
Oudév γε πλὴν ἢ τὸ πέος ἐν τῇ δεξιᾷ. 
ΣΩΚΡΑΤΗΣ. 
Οὐχ ἐγκαλυψάμενος ταχέως τι φροντιεῖς ; 780 
ΣΤΡΕΨΙΑΔΗΣ. 
Περὶ τοῦ; σὺ γάρ μοι τοῦτο φράσον, ὦ Σώκρατες. 
SQKPATHS. 
Avtios 6 τι βούλει πρῶτος ἐξευρὼν λέγε. 
STPEWIAAHS. 
° A; , U oa SN iy, ee 
κήκοας μυριάκις ἄγω βούλομαι, 
Περὲ τῶν τόκων, ὅπως ἂν ἀποδῶ μηδενί. 
ΣΩΚΡΑΤΉΣ. 
Ἴ198ι νυν, καλύπτουν καὶ σχάσας τὴν φροντίδος 740 
“Δεπτὴν κατὰ μικρὸν περιφρόνει τὰ πράγματα, 
᾿Ορϑῶς διαιρῶν καὶ σκοπῶν. 
ΣΤΡΕΨΙΑΔΗΣ. 
Οἴμοι τάλας. 
ΣΩΚΡΑΤΗΣ. 
wy 9 2 ΄ vn > ~ ~ 7 
Ey? ἀτρέμα: κἂν ἀπορῇς τι τῶν νοημάτων, 
"Ageis ἄπελϑε: κᾷτα τὴν γνώμην πάλιν 
Κίνησον αὐϑις, αὑτὸ καὶ ζυγώϑρισον. 745 


52 | NE@EAAT. 


ΣΤΡΕΨΙΑΔΗΣ. 
Ἶ Σωκρατίδιον φίλτατον. 
SQKPATHS. 
Tt, ὦ γέρον; 
ΣΤΡΕΨΙΑΔΗΣ- 
Ἔχω τόκον γνώμην ἀποστερητικήν. 
ΣΩΚΡΑΤΗΣ. 
᾿Απίδειξον αὐτήν. 
ΣΤΡΕΨΙΑΔΗΣ. 
Εἰπὲ δή νύν μοι τοδί" 
Τυναῖκα φαρμακίδ᾽ εἰ πριάμενος Θετταλὴν 
Καϑέλοιμι νύκτωρ τὴν σελήνην, εἶτα δὴ 756 
«Αὐτὴν καϑείρξαιμ᾽ ἐς λοφεῖον στρογγύλον, 
“Ὥσπερ κάτοπτρον, κᾷτα τηροίην ἔχων, ---- 
ΣῺ ΚΡΆΤΗΣ. 
Τί δῆτα τοῦτ᾽ ἂν ὠφελήσειέν σ᾽; 
ΣΤΡΕΨΙΑΔΗΣ. 
"Ou; 
Ei μηκέτ᾽ ἀνατέλλοι σελήνη μηδαμοῦ, 
Οὐκ ἂν ἀποδοίην τοὺς τόκους. 
SNKPATHS. 
‘Orn ti δή; 150 
ΣΤΡΕΨΙΑΔΗΣ. 
“Οτιὴ xata μῆνα τἀργύριον δανείζεται. 
ΣΏ ΚΡΑΤΉΣ. 
Ev γ᾽" ἀλλ᾽ ἕτερον αὖ σοι προβαλῶ τι δεξιόν" 
Ev σοι γράφοιτο πεντετάλαντός τις δίκη, 
“Ὅπως ἂν αὐτὴν ἀφανίσειας εἰπέ μοι. 
ΣΤΡΕΨΙΑΖΔΗΙ͂Σ. 
“Ὅπως; ὅπως: Οὐκ οἶδ᾽ arco ζητητέον. 760 





NE@GEAAT. 53 


ΣΩΚΡΑΤΗΣ. 
My νυν περὶ σαυτὸν εἶλλε τὴν γνώμην αεΐ, 
᾿“1λλ᾽ ἀποχάλα τὴν φροντίδ᾽ ἐς τὸν ἀέρα, 
Avddetov ὥσπερ μηλολόνϑην tov ποδός. 
ΣΤΡΕΨΙΑΔΗΣ. 
Εὕρηκ᾽ ἀφάνισιν τῆς δίκης σοφωτάτην, 
a 3 Ie 4 ς ~ 5 “ὦ 7? 
Sov’ αὐτὸν ὁμολογεῖν σ᾽ emoil.. 
ΣΩΚΡΑΤΗΣ. 
Ποίαν τινά ; 765 
ΣΤΡΕΨΙΑΔΗΣ. 
"Ἤδη mage τοῖσι φαρμακοπώλαις τὴν λίϑον 
Ταύτην ἑόρακας, τὴν καλήν, τὴν διαφανῆ, 
‘Ag’ ἧς τὸ πῦρ ἅπτουσι ; 
SRKPATHS. 
Try ὕαλον λέγεις ; 


ΣΤΡΕΨΙΑΔΗΣ. 
"Eyoye. Φέρε, τί δητ’ ay, εἰ ταύτην λαβών, 
“Οπότε γράφοιτο τὴν δίκην ὁ γραμματεύς, 770 


’ Anatéiga στοὶς ὧδε πρὸς τὸν ἥλιον 
Τὰ γράμματ᾽ ἐχτήξαιμι τῆς ἐμῆς δίκης ; 
] ΣΩΚΡΑΤΗΣ. 
“Σοφώς γε νὴ τὰς Χάριτας. 
ΣΤΡΕΨΙΑΔΗΣ. 
Oiw ὡς ἥδομαι 
“Ὅτι pete  ϑ νας διαγέγραπταΐί μοι δίκη. 
ΣΩΚΡΑΤΗΣ. 
"Aye dy ταχέως τουτὶ ξυνάρπασον. 
ΣΤΡΕΨΙΑΔΗΣ. 
Totti; ὦ 
δ 


94 NEBEAAT. 


SNK PATHS. 
“Ὅπως ἀποστρέψαις ἂν ἀντιδίκων δίκην, 
Μέλλων ὀφλήσειν μὴ παρόντων μαρτύρων. 
ΣΤΡΕΨΙΑΔΗΣ. 
Φαυλότατα καὶ δᾷστ᾽. 
ΣΩΚΡΑΤΗΣ. 
Εἰπὲ δή. 
ΣΤΡΕΨΙΑΔΗΣ. 
Καὶ δὴ λέγω" 
Εἰ πρόσϑεν,͵ ἔτι μιᾶς ἐνεστώσης δίκης, 
Πρὶν τὴν ἐμὴν καλεῖσϑ᾽, ἀπαγξαίμην τρέχων. 780 
SK PATHS. 
Οὐδὲν λέγεις. 
ΣΤΡΕΨΙΑΔΗΣ. 
Ny τοὺς ϑεους ἔγωγ᾽, ἐπεὶ 
Οὐδεὶς κατ᾽ ἐμοῦ τεϑνεώτος εἰσάξει δίκην. 
ΣΟ ΚΡΉΤΗΣ, 
“γϑλεῖς" ἄπεῤῥ᾽, οὐκ ἂν διδαξαίΐίμην σ᾽ ἔτι. 
ΣΤΡΕΨΙΑΔΗΣ. 
“Οτιὴ ti; Nai πρὸς τῶν ϑεῶν, ὦ Σώκχρατες. 
ΣΩΚΡΑΤΗΣ. 
"AMM εὐθὺς ἐπιλήϑει σύ γ᾽ ἅττ᾽ ἂν καὶ μάϑῃς" 785 
᾿Επεὶ τί νυνὶ πρῶτον ἐδιδάχϑης ; λέγε. 
ΣΤΡΕΨΙΑΔΗΣ. 
Φέρ᾽ ἴδω, τί μέντοι πρῶτον HY; τί πρῶτον ἦν; 
Tis ἦν ἐν H ματτόμεϑα μέντοι τἄλφιτα ; 
Οἴμοι, τίς nv; 
ΣΩΚΡΑΤΗΣ. 
Ovx ἐς κόρακας ἀποφϑερεῖ, 
᾿Επιλησμότατον καὶ σκαϊότατον γερόντιον; ῴἔκ0 





NE®DEAAT. 90 


ΣΤΡΕΨΙΑΔΗΣ. 
Οἴμοι, τί οὖν δῆϑ᾽ ὁ κακοδαίμων πείσομαι; 
‘dio γὰρ ὁλούμαι μὴ μαϑὼν γλωττοστροφεῖν. 
"ALN, ὦ Νεφέλαι, χρηστόν τι συμβουλεύσατε. 
ΧΟΡΟΣ. 
“Ημεῖς μὲν, ὦ πρεσβῦτα, συμβουλεύομεν, 
Εἴ σοί τις vids ἐστιν ἐκτεϑραμμένος, 795 
Πέμπειν ἐκεῖνον avtt σαυτοῦ μανϑάνειν. 
ΣΤΡΕΨΙΑΔΗΣ. 
"ARV ἔστ᾽ ἔμοιγ᾽ vios καλός te καγαϑός: 
᾿4λλ᾽ οὐκ ἐϑέλει γὰρ μανϑάνειν, τί ἐγὼ πάϑω; 
ΧΟΡΟΣ. 
Σὺ δ᾽ ἐπιτρέπεις; 
ΣΤΡΕΨΙΑΔΗΣ. 
Εὐσωματεῖ γὰρ καὶ σφριχᾷ, 
Kaov ἐκ γυναικῶν εὐπτέρων τῶν Κοισύρας. 800 
‘Ata μέτειμί γ᾽ αὐτόν" ἣν δὲ μὴ ϑέλῃ, 
Οὐκ ἔσϑ᾽ ὅπως οὐκ ἐξελώ ’x τῆς οἰκίας. 
"AAV ἐπανάμεινόν μ᾽ ὀλίψον εἰσελϑῶν χρόνον. 


ΧΟΡΟΣ. 
᾽Δρ᾽ αἰσϑάνει πλεῖστα δι’ ἡμᾶς ἀγάϑ᾽ αὐτίχ᾽ ἕ-. 
ξων 805 


Movas ϑεών ; “Rs 

“ἽἝτοιμος ὃδ᾽ ἐστὲν ἅπαντα δρᾷν 

"Oo ἂν χελεύῃς. 

20 δ᾽ ἀνδρὸς ἐκπεπληγμένον καὶ φανερώς ἐπῃρ- 
μένου 810 

Τνουὺς ἀπολάψεις, 0 τι πλεῖστον δύνασαι, 

7υγέως ' φιλεῖ γάρ mas τὼ τοιαῦϑ᾽ ἑτέρᾳ τρέ- 
πεσϑαι. 


50 NE@GEAAT. 


ΣΤΡΕΨΙΑΔΗΣ. 

Οὔτοι wa τὴν ᾿Ομίχλην Ev ἐνταυϑὲ μενεῖς" 

"ALN ἔσϑι' ἐλϑὼν τοὺς ῆηεγακλέους κίονας. 
ΦΕΙΔΙΠΠΙΔΉΣ. 

4 / ’ = ’ Ξ3 , 

“(2 δαιμόνιε, TL YONUG πάσχεις, ὦ πάτερ ; 

2 > ~ x ‘ ’ ‘ 39 , 

Oux ev φρονεῖς ua tov Ata tov Ολύμπιον. 
ΣΤΡΕΨΙΑΔΗΣ. 

᾿Ιδού γ᾽ idov Ai’? ᾿Ολύμπιον" τῆς μωρίας" 

‘ ΄ ra a! 7 

To Aia νομίζειν, ovta τηλικοντονί. 
ΦΕΙΔΙΠΠΙΔΗΣ. 

Ti δὲ τοῦτ᾽ ἐγέλασας ἐτεόν ; 
ΣΤΡΕΨΙΑΔΗΣ. 

᾿Ενϑυμούμενος 

"Ore παιδάριον εἶ καὶ φρονεῖς ἀρχαϊκά. 

a A , Ὁ. Aa) IQ ΔΨ ’ 

Ὅμως γε μὴν προσελϑ᾽, ἵν᾽ εἰδῇς πλείονα, 

’ a Dek Ν Χ 2 Ν “Ὑ 
Kai σοι φράσω πραγμ᾽ ὁ ov μαϑῶὼν ἀνὴρ ἔσει. 
“Ὅπως δὲ τοῦτο μὴ διδάξῃς μηδένα. 


ΦΕΙΔΙΠΠΙΔΗΣ. 
᾿1δού" τί ἔστιν ; 

ΣΤΡΕΨΙΑΔΗΣ. 

"μμοσας νυνὲ Δία. 

ΦΕΙΔΙΠΠΙΔΗΣ. 
"Evoy’. 

ΣΤΡΕΨΙΑΔΗΣ. 


Ὁρᾷς οὖν ὡς ἀγαϑὸν τὸ μανϑάνειν ; 
Οὐὺκ ἔστιν, ὦ Φειδιππίδη, Ζεύς. 
ΦΕΙΔΙΠΠΙΔΉΣ. 
᾿Αλλὰ τίς ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Aivos βασιλεύει, τὸν Ai’ ἐξεληλακώς. 


815 


820 


NEBDEAAT. ee 


ΦΕΙΔΙΠΠΙΔΗΣ. 
AiBoi, τί ληρεῖς ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Ἴ1σϑι τοῦϑ' οὕτως ἔχον. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Τίς φησι ταῦτα; 
ΣΤΡΕΨΙΑΔΗΣ. 
“Σωχράτης ὁ ηήλιος 830 
Kai Χαιρεφῶν, ὃς οἶδε ta ψυλλῶν ἰχνη. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Σὺ δ᾽ εἰς τοσοῦτο τῶν μανιών ἐλήλυϑας 
“Lov ἀνδράσιν πείϑει χολῶσιν ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Εὐστόμει, 
Καὶ μηδὲν εἴπῃς φλαῦρον ἄνδρας δεξιοὺς 
Καὶ νοῦν ἔχοντας" ὧν ὑπὸ τῆς φειδωλίας 
* Aneneigat’ οὐδεὶς πώποτ᾽ οὐδ᾽ ἡλείψατο 
Οὐδ᾽ εἰς βαλανεῖον yAFE λουσόμενος" ov δὲ 
“Ὥσπερ τεϑνεῶτος καταλόει μου τὸν βίον. 
‘AAW ὡς τάχιστ᾽ ἐλϑῶν ὑπὲρ ἐμοῦ μάνθανε. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Τί δ᾽ ἂν παρ᾽ ἐκείνων καὶ μάϑοι χρηστόν τις ἄν ; 840 
ΣΤΡΕΨΙΑΔΗΣ. 
"Adntes; ὅσαπερ ἔστ᾽ ἐν ἀνθρώποις σοφά" 
Τνώσει δὲ σαυτὸν ὡς duadys εἶ καὶ παχύς. 
᾿“λλ᾽ ἐπανάμεινόν μ᾽ ὀλίγον ἐνταυϑὲ χρόνον. 
ΦΕΙΔΙΠΠΊΔΗΣ. 
Οἴμοι, τί δράσω παραφρονοῦντος τοῦ πατρός ; 
Πότερον παρανοίας αὐτὸν εἰσαγαγῶν ἕλω, 
Ἢ τοῖς σοροπηγοῖς τὴν μανίαν αὐτοῦ φράσω ; 


855 


845 


58 NE@DEAAT. 


ΣΤΡΕΨΙΑΔΗΣ. 
Dig’ ἴδω, σὺ τοῦτον τίνα νομίζεις ; εἰπέ μοι. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
᾿“λεχτρυόνα. 
ΣΤΡΕΨΙΑΔΗΣ. 
Καλῶς γε. Ταυτηνὶ δὲ τί; 
ΦΕΙΔΙΠΠΙΔΗΣ. 
*“Ahextover’. 
ΣΤΡΕΨΙΑΔΗΣ: 
"Auge ταὐτό; καταγέλαστος εἶ. 
My νυν τὸ λοιπὸν, ἀλλὰ τήνδε μὲν καλεῖν 850 
° Ahextovatvay, τουτονὶ δ᾽ ἀλέκτορα. 
ΦΕΙΔΙΠΠΙΔΗΣ. 


᾿“λεκτρύαιναν ; Ταῦτ᾽ ἔμαϑες ta δεξιὸ 
Εἴσω παρελθὼν ἄρτι maga τοὺς γηγενεῖς ; 
ΣΤΡΕΨΙΑΔΗΣ. 

Xareod γε πόλλ᾽ ἀλλ᾽ 6 τι μάϑοιμ᾽ ἑκάστοτε, 
᾿Επελανθϑανόμην ἂν εὐθὺς ὑπὸ πλήϑους ἐτῶν. 855 
PEIAINNMIANS. 

Διὸ ταῦτα δη καὶ ϑοϊμάτιον ἀπώλεσας ; 
ΣΤΡΕΨΙΑΔΗΣ. 

"AAW οὐκ ἀπολώλεχ᾽ ἀλλὰ καταπεφρόντικοι. 
ΦΕΙΔΙΠΠΙΔΗΣ. 

Τὰς δ᾽ ἐμβάδας ποῖ τέτροφας, ὦ ’᾽νόητε σύ; 
ΣΤΡΕΨΙΑΔΗΣ. 

“Ὥσπερ Περικλέης εἰς τὸ δέον ἀπώλεσα. 

“AAW ἴϑι, βάδιζ᾽, ἴωμεν εἶτα τῷ πατρὲ 860 

Πειϑόμενος ἐξάμαρτε" κἀγώ" τοΐ ποτε 

Οἷδ᾽ ἑξέτει σοι τραυλίσαντι πιϑόμενος, 

“Ov πρῶτον ὀβολὸν ἔλαβον ᾿Ηλιαστικόν, 


NEGEAAT. 


Τούτου ’πριάμην σοι Avaciou ἁμαξίδα. 
Φ ΕΙΔΙΠΠΙΔῊΣ. . 
᾿ Ἃ b , = f 50 ζ τε 
A μὴν συ τούτοις τῷ χρόνῳ ποτ αἀχϑεέσει. 
ΣΤΡΕΨΙΑΔΗΣ. 


Ev γ᾽ ὅτι ἐπείσϑης. Δεῦρο deve’, ὦ Σώκρατες, 


"ΒΕ ξελϑ᾽. ἄγω γάρ σοι τὸν υἱὸν τουτονΐ, 
2! δ. Ι 7 
Axovl’ ἀναπείσας. 
ΣΩΚΡΑΤΗΣ. 
ΜΝηπύτιος γάρ ἐστ᾽ ἔτι, 
Καὶ τῶν χρεμαϑρῶν οὐ τρίβων τῶν ἐνθάδε. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
«Αὐτὸς τρίβων εἴης ἂν, εἰ κρέμαιό γε. 
ΣΤΡΕΨΙΑΔΗΣ. 
Οὐκ ἐς κόρακας ; καταρᾷ σὺ τῷ διδασκάλῳ; 
ΣΩΚΡΑΤΗΣ. 
[dev κρέμαι;, ὡς ἠλίϑιον ἐφϑέγξατο 
Kai τοῖσι χείλεσιν διεῤῥυηκόσιν. 
Πῶς ἂν μάϑοι x08 οὗτος ἀπόφευξιν δίκης 
Ἢ κλῆσιν ἢ χαύνωσιν ἀναπειστηρίαν ; 
Καίτοι ταλάντου τοῦτ᾽ ἔμαϑεν “Ὑπέρβολος. 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿Δμέλει, δίδασκε" ϑυμόσοφός ἔστιν φύσει" 
>» ’ὔ , ’ vx A 
Evtus γέ tot παιδάριον ov tvvvovtove 
Ὑ ” 3 ’΄ af 3 5, 
“Eniattev ἔνδον οἰκίας ναὺς τ᾽ ἔγλυφεν, 
ς ’ db > / 
“μαξίδας τε oxvtivas εἰργάζετο, 
Κἀκ τῶν σιδίων βατράχους ἐποΐει πῶς δοκεῖς. 
“Ὅπως δ᾽ ἐκείνω τῶ λόγω μαϑήσεται, 
X , > ἡ aie oP ’ x a 
Tov κρείττον᾽. OOTLS EGTL, καὶ TOV ἥττονα, 
Ὃς τἄδικο. λέγων ἀνατρέπει τὸν κρείττονα" 
υ Ἁ Ν ff A ~ 2 7 δ 
Ἐὰν δὲ μή. τὸν γοῦν adixov πάσῃ τεχνῇ. 


865 


870 


875 


880 


885 


00 NE@GEAAT. 


ΣΩΚΡΑΤΗΣ. 
«Αὐτὸς μαϑήσεται παρ᾽ αὐτοῖν τοῖν λόγοιν. 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿Π γὼ δ᾽ ἀπέσομαι" τοῦτο γοῦν μέμνησ᾽, ὅπως 
Πρὸς πάντα ta δίκαι᾽ ἀντιλέγειν δυνήσεται. 
ΔΊΚΑΙΟΣ. 
“Χώρει devel, δεῖξον σαυτὸν 
Τοῖσι ϑεαταῖς, καίπερ ϑρασὺς av. 890 
AAIKOX. 
"LR ὅποι γρήζεις. Πολυ γὰρ μᾶλλόν σ᾽ 
᾿Εν τοῖς πολλοῖσι λέγων ἀπολώ. 
ἩΤΚΆΤΟΞ: 
᾿“πολεῖς ov ; τίς ὦν; 
ΑΔΙΚΟΣ. 
“16γος. 
ΔΊΚΑΙΟΣ. 
“Ἤττων γ᾽ ὦν. 
AATK CO. 
᾿Ζ4λλὰ σὲ νικώ, TOY ἐμοῦ κρείττω 
Φάσκοντ᾽ εἶναι. 
ΔΊΚΑΙΟΣ. 
Τί σοφὸν ποιῶν ; 895 
AATKOZ. 
Τυνώμας καινοὶς ἐξευρίσκων. 
“ἸΚΆΤΟΣ. 
Tavta yoo ἀνϑεῖ διὰ τουτουσὶ 
Tovs ἀνοήτους. 


ΑΔΙΚΟΣ. 
ai > 
Ovx, ἀλλὰ σοφούς. 


NE@DEA AL. 61 


ΔΊΚΑΙΟΣ. 
᾿“πολῶ σε κακώς. 
ΑΔΙΚΟΣ. 
Εἰπέ, τί ποιῶν ; 
ΔΊΚΑΙΟΣ. 
Τὰ δίκαια λέγων. 900 
ΑΔΙΚΟΣ. 
AWM ἀνατρέψω ᾽γαῦτ᾽ ἀντιλέγων" 
Οὐδὲ γὰρ εἶναι πάνυ φημὶ δίκην. 


ΔΊΚΑΙΟΣ. 
Οὐχ εἶναι φῇς ; 

ΑΔΙΚΟΣ. 

Φέρε γάρ, ποῦ στιν ; 

2 AIKAIO“. 
Hapa τοῖσι ϑεοῖς. 

ΑΔΙΚΟΣ. 
Πώς δῆτα δίκης οὔσης ὁ Ζεὺς 
Οὐχ ἀπόλωλεν τὸν πατέρ᾽ αὑτοῦ 905 

| Anoas; 
ΔΊΚΑΙΟΣ. 


«ϊβοῖ, τουτὶ καὶ δὴ 
Χωρεῖ τὸ κακόν" δότε μοι λεκάνην. 
ΑΔΙΚΟΣ. 
Τυφογέρων εἶ κἀνάριιοστος. 
ΔΙΚΑ͂ΙΟΣ. 
Καταπύγων εἶ xavaicyvytos, 
ΑΔΙΚΟΣ. 
“Poda μ᾽ εἴρηκας. 
4IKAIOZ. | 
Kai βωμολόχος, 910 
6 


62 NE@GEAAT. 


ΑΔΙΚΟΣ. 
Koiveot στεφανοῖς. 
ΔΙΚΑΙΟΣ. 
Καὶ πατραλοίας. 
ΑΔΙΚΟΣ. 
“Χρυσῷ πάττων μ᾽ οὐ γιγνώσκεις. 
ΔΊΚΑΙΟΣ. 
Οὐ δῆτα πρὸ τοῦ γ᾽, ἀλλὰ μολύβδῳ. 
AAIKOS. 
Nov δέ γε κόσμος τοῦτ᾽ ἐστὶν ἐμοί, 
AIKAIOS. 
Θρασὺς εἶ πολλοῦ. 
ΑΔΙΚΟΣ. 
av δέ γ᾽ ἀρχαῖος. 915 
AIK AIO“. | 


Διὰ σὲ δὲ φοιτᾷν 

Οὐδεὶς ἐϑέλει τῶν μειρακίων" 
Καὶ γνωσθήσει ποτ᾽ ᾿“ϑηναίοις 
Οἷα διδάσκεις τοὺς ἀνοήτους. 


ΑΔΙΚΟΣ. 
Avyusis αἰσχρώς. 
ΔΙΚΑ͂ΙΟΣ. 
2 δέ γ᾽ εὖ πράττεις. #20 


Καίτοι πρότερόν γ᾽ éxtoyeves, 
7 ήλεφος εἶναι Mucos φάσκων, 
᾿Εκ πηριδίου 
Τνώμας τρώγων Πανδελετείους. 
ΑΔΙΚΟΣ. 
“2 μοι σοφίας ἧς ἐμνήσϑης. 525 


NE®EAAT. 63 


ΔΊΚΑΙΟΣ. 
"μμοι μανίας τῆς σῆς, πόλεώς ὃ’, 
“Hus σε τρέφει 
Avuaivousvoy τοῖς μειρακίοις. 

ΑΔΙΚΟΣ. 
Οὐχὶ διδάξεις τοῦτον Κρόνος ὦν. 

ΔΊΚΑΙΟΣ. 
Εἴπερ γ᾽ αὐτὸν σωϑῆναι χρὴ . $30 
Kai un λαλιὰν μόνον ἀσκῆσαι. 

ΑΔΙΚΟΣ. 
Ζεύρ᾽ ἴϑι, τοῦτον δ᾽ ξα μαίνεσθαι. 

ΔΊΚΑΙΟΣ. 
Κλαύσει, τὴν χεῖρ᾽ ἣν ἐπιβάλλῃς. 

ΧΟΡΟΣ. 
Παύσασϑε μάχης καὶ λοιδορίας. : 
"AW ἐπίδειξαι 935 
XU τε TOUS προτέρους ἅττ᾽ ἐδίδασκες, 
Σὺ τε τὴν καινὴν 
Παίδευσιν, ὅπως ἂν ἀκούσας σφῷν 
᾿ΑἸντιλεγόντοιν κρίνας φοιτᾷ. 


ΔΊΚΑΙΟΣ. 
Aoay ταῦτ᾽ ἐϑέλω. 
AAIKOZ. 
Kayaoy ἐϑέλω. 
XOPOZ. 
Φέρε dn πότερος λέξει πρότερος ; 940 
ΑΔΊΚΟΣ. 


Τούτῳ δώσω" 
Kav’ ἐκ τούτων ὧν ἂν λέξῃ 
“ῬΡηματίοισιν καινοῖς αὐτὸν 


a 


64 NE@E AAT. 


Kai διανοίαις κατατοξεύσω. 
To τελευταῖον δ᾽, ἣν ἀναγρύζῃ, 945 
To πρόσωπον ἅπαν καὶ τὠφθαλμὼ 
Κεντούμενος ὥσπερ ὑπ᾽ ἀνθρηνών 
“Ὑπὸ τῶν γνωμῶν ἀπολεῖται. 

ΧΟΡΟΣ. 
Noy δείξετον ta πισύνω τοῖς περιδεξίοισι 940 
Adyotot καὶ φροντίσι καὶ γνωμοτύποις μερίμναις, 
“Οπότερος αὐτοῖν λέγων ἀμείνων φανήσεται. 
Nov yao ἅπας ἐνθάδε κίνδυνος ἀνεῖται σοφίας, 955 
“Hs πέρι τοῖς ἐμοῖς φίλοις ἔστιν ἀγῶν μέγιστος. 
‘AAV ὦ πολλοῖς τοὺς πρεσβυτέρους ἤϑεσι ONTO 


στεφανώσας, 

“Pygov φωνὴν ἥτινι χαίρεις, καὶ τὴν σαυτοῦ φύσιν 
εἰπέ. 900 
ΔΙΚΑ͂ΙΟΣ. 


, - Ν 3 ’ ’ ς “4 
Asi τοίνυν τὴν ἀρχαίαν παιδείαν, ὡς διέκειτο, 
σ 5 2 Ἂ Ἀ ’ 32) A / 
OV ἐγὼ ta δίκαια λέγων ἤνϑουν καὶ σωφροσύνη 


γνενόμιστο. 

Πρῶτον μὲν ἔδει παιδὸς φωνὴν γρύξαντος μηδέν᾽ 
ἀκούσαι" 

Εἶτα βαδίζειν ἐν ταῖσιν ὁδοῖς εὐτάκτως εἰς κιϑα- 
ριστοῦ 

Tovs κωμήτας γυμνους ἀϑρόους, κεῖ κριμνώδη κα- 

, 

τανίφοι. 965 

Εἶτ᾽ av προμαϑεῖν dow ἐδίδασκεν, τὼ μηρὼ μὴ 
ξυνέχοντας, 


ἜΤΙ Παλλάδα περσέπολιν δεινὸν," 2) “ Τηλέπο- 


gov τι βόαμα,᾽" 


NE@D@EAAI. 65 


ντειναμένους τὴν ἁρμονίαν, ἣν ot πατέρες πα- 


ρέδωκαν. 

Ei δέ τις αὐτῶν βωμολοχεύσαιτ᾽ ἢ κάμψειέν τινα 
καμπὴν, 

Οἵας ot νῦν tas κατὰ Φρῦνιν ταύτας tas δυσκο- 
λοκάμπτους, 971 

᾿Επετρίβετο τυπτόμενος πολλὰς ὡς tas Movoas 
ἀφανίζων. 

‘Ev παιδοτρίβον δὲ καϑίζοντας τὸν μηρὸν ἔδει 
προβαλέσϑαι 

Τοὺς παῖδας, ὅπως τοῖς ἔξωϑεν μηδὲν δείξειαν 
ἀπηνές" 

Εἶτ' αὖ πάλιν αὖϑις ἀνισταμένους συμψῆσαι, καὶ 
προνοεῖσθαι 975 

ἘΕἴδωλον τοῖσιν ἐρασταῖσιν τῆς ἥβης μὴ καταλεί- 
πειν. 


᾿Πλείψατο δ᾽ ἂν τοὐμφαλοῦ οὐδεὶς παῖς ὑπένερ- 
Fev τότ᾽ ἂν ὥστε 

Τοῖς αἰδοίοισι δρόσος καὶ χνοῦς ὥσπερ μήλοισιν 
ἐπήνϑει" 

Οὐδ᾽ ἂν μαλακὴν φυρασάμενος τὴν φωνὴν πρὸς 
τὸν ἐραστὴν 

«Αὐτὸς ἑαυτὸν προαγωγεύων τοῖς ὀφθαλμοῖς ἐβά- 


διζεν, 980 
Οὐδ᾽ ἂν ἑλέσθαι δειπνοῦντ᾽ ἐξῆν κεφάλαιον τῆς 
ῥαφανῖδος, 
Οὐδ᾽ ἂν ἄνηϑον τῶν πρεσβυτέρων ἁρπάζειν οὐδὲ 
σέλινον, 


Οὐδ᾽ ὀψοφαγεῖν, οὐδὲ κιχλίζειν, οὐδ᾽ ἴσχειν τὼ 
πόδ᾽ ἐναλλάξ. 
60" 


06 NE@EAAT. 


AAIKOS. 
*"Aoyaik ye καὶ Διπολιώδη καὶ τεττίγων ἀνά- 
μέστα, 
Kai Κηκείδου καὶ Βουφονίων. 
ΔΊΚΑΙΟΣ. 


"AN οὖν ταῦτ᾽ ἐστὶν ἐκεῖναι. 985 

“EE ὧν ἄνδρας Magatavoudyas ἡ μὴ παίδευσις 
ἐϑρεψεν. 

Συ δὲ τοὺς νῦν εὐϑυς ἐν ἱματίοις προδιδάσκχεις 
ἐντετυλίχϑαι" 

“Ὥστε μ᾽ ἀπάγχεσϑ’᾽ ὅταν͵ ὀρχεῖσϑαι Παναϑηναί- 
ols δέον αὐτοὺς͵ 

Τὴν ἀσπίδα τῆς κωλῆς προέχων ἀμελῇ τῆς Τρι- 

, 

TOVEVELNS. 

Πρὸς ταῦτ᾽, ὦ μειράκιον, ϑαῤῥῶν ἐμὲ τὸν κρείττω 
λόγον aigov: 900 

Κἀπιστήσει μισεῖν ἀγορὼν καὶ βαλανείων ἀπέ- 
χεσϑαι 

Καὶ τοῖς αἰσχροῖς αἰσχύνεσθαι, κἂν σκώπτῃ τίς 
σε, φλέγεσθαι" 

Kai τῶν ϑάκων τοῖς πρεσβυτέροις ὑπανίστασϑαι 
προσιοῦσιν, 

Καὶ pn περὲ τοὺς σαυτοῦ γονέας σκαιουργεῖν, 
ἄλλο τε μηδὲν 

«Αἰσχρὸν ποιεῖν, ὅτι τῆς «Αἰδοῦς μέλλεις τἄγαλμ᾽ 


ἀναπλάττειν" 995 
Mn’ sis ὀρχηστρίδος εἰσάττειν, ἵνα μὴ πρὸς ταῦτα 
κεχηνώς, 


Miia βληϑεὶς ὑπὸ πορνιδίου, τῆς εὐκλείας ἀπο- 
ϑραυσθϑῇς" 


NE@GEAAT. 67 


Mys’ ἀντειπεῖν τῷ πατρὶ μηδέν, μηδ᾽ ᾿Ιαπετὸν 


καλέσαντα 

Μνησικακῆσαι τὴν ἡλικίαν, ἐξ ἧς ἐνεοττοτροφή- 
ϑης. 
ΑΔΙΚΟΣ, 

Εἰ ταῦτ᾽, ὦ μειράκιον, πείσει τούτῳ, νη τὸν 41ιό- 
γυσον ᾿ 1000 

Τοῖς ᾿Ιτποκράτους υἱέσιν εἴξεις, καί σε καλοῦσι 
βλιτομάμμαν. 

| ΔΊΚΑΙΟΣ. 

“AA οὖν λιπαρός γε καὶ εὐανϑηὴς ἐν γυμνασίοις 
διατρίψεις, 


Οὐ στωμύλλων κατὰ τὴν ἀγορὰν τριβολεχτράπελ᾽, 
οἷάπερ οἱ νῦν, 
Οὐδ᾽ ἑλκόμενος περὶ πραγμοατίου γλισχραντιλογε- 


ξεπιτρίπτου" 
"ALN εἰς ᾿Ακαδήμειαν xatiav ὑπὸ ταῖς μορίαις 
ἀποϑρέξει. 1005 
, / ἘΝ Ἁ £ 
Atepavacausvos καλάμῳ λευκῷ μετὰ σώφρονος 
ἡλικιώτου, 
Μ|ίλακος otav καὶ ἀπραγμοσύνης καὶ λεύκης φυλ- 
4 
λοβολούσης, 
*Hoos év ὥρᾳ χαίρων, ὁπόταν πλάτανος πτελέᾳ 
ψιϑυρίζῃ. 
“Hy ταῦτα ποιῇς ἁγῶ pod 
. ποιῃς AC φράζω, 
Καὶ πρὸς τούτοις προσέχῃς τὸν vovy, , 1010 


"E&ets ast στῆϑος λιπαρόν, 
Χροιὼν λευκήν, ὥμους μεγάλους, 
7)λῶώτταν βαιάν, πυγὴν μεγάλην, 
Πόσϑην μικράν. 


63 NE@tu Al. 


“Hy δ᾽ ἅπερ οἱ νῦν ἐπιτηδεύῃς, 1015 

Πρῶτα μὲν ἕξεις χροιὰν ὠχράν, 

"μους μικρούς, στῇϑος λεπτόν, 

Ζλώτταν μεγάλην, πυγὴν μικράν, 

Κωλὴν μεγάλην, ψήφισμα μακρόν, 

Καὶ σ᾽ ἀναπείσει 

To μὲν αἰσχρὸν ἅπαν καλὸν ἡγεῖσθαι, 1090 

Τὸ καλὸν δ᾽ αἰσχρόν" 

Kai πρὸς τούτοις τῆς ᾿ΑἸντιμάχου 

Katanvyoovyns ἀναπλήσει. 

ΧΟΡΟΣ. 

᾽Ω, καλλίπυργον σοφίαν κλεινοτάτην ἐπασκχῶν, 1024 

“Μὴς ἡδύ σου τοῖσι acs gs ἔπεστιν ἄνϑος. 

Εὐδαίμονες δ᾽ ἦσαν ἄρ᾽ οἱ ζῶντες τότ᾽ ἐπὶ 

Τῶν προτέρων. Πρὸς οὖν τάδ᾽, ὦ ὦ κομψοπρεπῆ 
μοῦσαν ἔχων, 1030" 

Asi σε λέγειν τι καινόν, ὡς εὐδοκίμηκεν ἁνήρ. 

4:εινῶν δέ σοι βουλευμάτων gone δεῖν πρὸς αὐτόν, 


Εἴπερ τὸν ἄνδρ᾽ ὑπερβαλεῖ καὶ μὴ γέλωτ᾽ ὀφλή- 


σεις. 1035 
S AAIKO2. 
Καὶ μὴν πάλαι γ᾽ ἐπνιγόμην ta σπλάγχνα, κάπε- 
ϑύμουν 


““παντα ταῦτ᾽ ἐναντίαις γνώμαισι συνταράξαι. 
᾿Εγὼ yao ἥττων μὲν λόγος δι’ αὐτὸ τοῦτ᾽ ἐκλήϑην 
᾿Εν τοῖσι φροντισταῖσιν, ὅτι πρώτιστος ἐπενόησα 
Καὶ τοῖς νόμοις καὶ ταῖς δίκαις ταναντί᾽ ἀντιλέ- 
Eat. 6/19 1040 
Καὶ τοῦτο πλεῖν ἢ μυρίων ἔστ᾽ ἄξιον στατήρων, 
Aigovmevoy tovs ἥττονας λόγους ἔπειτα νικῶν. 


NE@BGEAAT. 69 


Lnewat δὲ τὴν παίδευσιν ἢ πέποιϑεν ὡς ἐλέγξω,--- 
“Ὅστις σε ϑερμῷ φησι λοῦσϑαι πρῶτον οὐκ ἐάσειν. 
Καίτοι τίνα γνώμην ἔχων ψέγεις ta ϑερμοὶ λου- 


TOG ; 1045 
ΔΙΚΑΙΟΣ. 
“Οτιὴ κάκιστόν ἐστι καὶ δειλὸν ποιεῖ τὸν ἄνδρα. 
| ΑΔΙΚΟΣ. 


᾿Επίσχες" εὐθὺς γάρ σε μέσον ἔγω λαβῶν ἄφυκτον. 
Kai μοι φράσον, τῶν τοῦ Διὸς παίδων tiv’ ἄνδρ᾽ 
ἄριστον 
Ψυχὴν νομίζεις, εἶπέ, καὶ πλείστους πόνους πονῆ- 
σαι; 
ΕΩΜΚΦΤΟΣ. 
᾿Εγὼ μὲν οὐδέν᾽ ᾿Πρακλέους βελτίον᾽ ἄνδρα κρί- 
vO. 1050 
AAIKOS. 
Ποῦ ψυχρὰ δῆτα πώποτ᾽ εἶδες ᾿Πράκλεια λουτρά; 
Καίτοι τίς ἀνδρειότερος ἦν ; 
AIKAIOS. 
Tavr’ ἐστὶ, ταῦτ᾽ ἐκεῖνα, 
"A τῶν νεανίσκων ἀεὶ dv ἡμέρας λαλούντων 
Πληρες τὸ βαλανεῖον ποιεῖ, xevds δὲ τὰς παλαί- 


στρας. 
AAIKOS. 

Eiv’ ἐν ἀγορᾷ τὴν διατριβὴν ψέγεις" ἐγὼ δ᾽ ἐπαι- 
VO. 1055 


Et γὰρ πονηρὸν ἦν, “Ομηρος οὐδέποτ᾽ ἂν ἐποίει 

Τὸν ΜΝέστορ᾽ ἀγορητὴν ἂν οὐδὲ τοὺς σοφοὺς ἅ- 
παντας. 

"Aven δῆτ᾽ ἐντεῦϑεν εἰς τὴν γλώτταν, ἣν 6dl μὲν 


το NEG@GEAAT. 


Ou φησι χρῆναι τοὺς νέους ἀσκεῖν, ἐγὼ δὲ φημί. 
Kai σωφρονεῖν αὖ φησὶ χρῆναι" δύο καχῶ με- 
γίστω. [000 
“Lie ov διὰ τὸ σωφρονεῖν τῷ πώποτ᾽ εἶδες ἤδη 
“Ayatov τι γενόμενον, φράσον, καί μ᾽ ἐξέλεγξον 


εἰπών. 
AIK AIOS. 

Πολλοῖς. Ὃ γοῦν Πηλεὺς ἔλαβε διὰ τοῦτο τὴν 
μάχαιραν. 
ΑΔΙΚΟΣ. 

Μάχαιραν ; ἀστεῖόν γε κέρδος ἔλαβεν ὁ xaxodai- 
μῶν. 

Ὑπέρβολος δ᾽ οὐκ τῶν λύχνων πλεῖν ἢ τάλαντα 
πολλὰ 1006 

Eidnge διὸ πονηρίαν, ἀλλ᾽ οὐ po Ai’ οὐ μάχαι- 
ραν. 
AIKAIOS. 

Kai τὴν Θέτιν γ᾽ ἔγημε διοὸ τὸ σωφρονεῖν ὁ 771η- 
λεύς. 
ΑΔΙΚΟΣ. 

Κατ’ ἀπολιποῦσά γ᾽ αὐτὸν ᾧχετ᾽ ov γὰρ nv ὑβρι- 
στὴς λυ OO ON 

Οὐδ᾽ ἡδυς ἐν τοῖς στρώμασιν τὴν νύκτα παννυχί- 
ζειν" 

7Τυνὴ δὲ σιναμωρουμένῃ χαίρει" συ δ᾽ εἶ χρόνιπ- 
πος. 1070 

Σκέψαι YOQ, ὦ μειράκιον, ἐν τῷ σωφρονεῖν ἅπαν- 
τὰ 


ε; .ς = ~ 
A νεστιν, ἡδονῶν # ὅσων μέλλεις ἀποστερεῖσθαι, 
7 ~ 
Haidar, γυναικῶν, κοττάβων, ὄψων, πότων, καχα- 
σμῶν. 


NE@EAAT. 


ἊΝ 
"πὸ 


Καίτοι τί σοι ζῇν ἄξιον, τούτων ἐὼν στερηϑῇς; 
Εἶεν. Παάρειμ᾽ ἐντεῦϑεν ἐς τὸς τῆς φύσεως ἀνάγ- 
κας. 1075 
“Huaetes, ἠράσϑης, ἐμοίχευσάς τι, xa’ ἐλήφϑης" 
-Απόλωλας * ἀδύνατος γὰρ εἶ λέγειν. ᾿Ἐμοὶ δ᾽ 
᾿ Ι ὁμιλῶν, 
ἊΣ τῇ φύσει, σχίρτα, γέλα, νόμιζε μηδὲν αἰσχρόν. 
Μίοιχὸς γὰρ ἣν τύχῃς ἁλούς, τάδ᾽ oe προς 


αὐτόν, | 
“2s οὐδὲν ἡδίκηκας " εἶτ᾽ εἰς tov Ai’ ἐπάνενεγ- 
κεῖν, 1080 


Κἀκεῖνος ὡς ἥττων ἔρωτός ἐστι καὶ γυναικῶν" 
Καίτοι σὺ ϑνητὸς ὧν ϑεοῦ πῶς μεῖζον ἂν δύναιο ; 
i | AIKAIOS. 
Τί δ᾽ ἣν δαφανιδωϑῇ πιϑόμενός σοι τέφρᾳ τε τιλ- 
ϑῇ; 
"Eke τίνα γνώμην λέγειν, τὸ μὴ εὐρύπρωκτος εἶ- 
. ναι; 
ΑΔΙΚΟΣ. 
"Hy δ᾽ εὐρύπρωκτος 7, τί πείσεται κακόν; ἀχἸο086 
AIKAIOS. 
Τί μὲν οὖν ἂν ἔτι μεῖζον πάϑοι τούτου ποτέ ; 
ΑΔΙΚΟΣ. 
Τί δῆτ᾽ ἐρεῖς, ἣν τοῦτο νικηϑῇς ἐμοῦ ; 
ΔΊΚΑΙΟΣ. 
Σιγήσομαι. Τί δ᾽ ἄλλο; 
ΑΔΙΚΟΣ. 
Φέρε δή μοι φράσον 
“Συνηγοροῦσιν EX τινῶν; 


72 NE@GEAAT. 


AIKAIOZ. 
"EE εὐρυπρώκτων. 
ΑΔΙΚΟΣ. 
Πείϑομαι. 1090 
Tt dai; τραγῳδοῦσ᾽ ἐκ τίνων ; 
AIKAIOS. 
"EE εὐρυπρώκτων. 
| ΑΔΙΚΟΣ. 
Εὖ λέγεις. 
Anunyogovet δ᾽ éx τίνων ; 
AIK AIO. 
"EE εὐρυπρώκτων. 
AAIKOS. 
*Aoa dyv’ 
*Eyvonas ὡς οὐδὲν héyets ; 1096 
Kai τῶν ϑεατῶν ὁπότεροι 
Πλείους σκόπει. 


ΔΊΚΑΙΟΣ. ° 
Καὶ δηὴ σκοπῶ. 
ΑΔΙΚΟΣ. 
Ti nF δρᾷς; 
AIKAIOS 


Πολὺ πλείονας, νὴ τοὺς ϑεούς, 
Tovs εὐρυπρώκτους" τουτονὶ 
Ποῦν οἶδ᾽ ἐγὼ κἀχεινονὶ 1100 
Καὶ τὸν κομήτην τουτονί. 
AAIKOS. 
Ti δητ᾽ ἐρεῖς ; 
AIK AIOZ. 
᾿Πττήμεϑ', ὦ κινούμενοι, 


NE@G@EAAT. 73 
Πρὸς τῶν Feav δέξασϑέ μου 
Θοἰμάτιον, ὡς 
᾿Εξαντομολώ πρὸς vmas. 
ΣΩΚΡΑΤΗΣ. 
Τί δῆτα ; πότερα τοῦτον ἀπάγεσϑαι λαβὼν 116 
Βούλει τον υἷόν, ἢ διδάσκω σοι λέγειν ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Δίδασκε καὶ κόλαζε, καὶ μέμνησ᾽ ὅπως 
Ev μοι στομώσεις αὐτόν, ἐπὶ μὲν ϑᾶτερα 
Οἵαν δικιδίοις, τὴν δ᾽ ἑτέραν αὐτοῦ γνάϑον 
Στόμωσον οἵαν ἐς Ta μείζω πράγματα 1110 
ΣΩΚΡΑΤΗΣ. 
᾿Αμέλει, κομιεῖ τοῦτον σοφιστὴν δεξιόν. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
᾿᾿Ωχρὸν μὲν οὖν, οἶμαί γε, καὶ κακοδαίμονα. 
XOPOZ. 
Xageite νυν. Οἶμαι dé σοι ταῦτα μεταμελήσειν. 
Tovs κριτὰς ἃ κερδανοῦσιν, ἣν τι τόνδε τὸν yo- 


gov 1115 
‘Rpelac ἐκ τῶν δικαΐων, βουλόμεσϑ'᾽ ἡμεῖς φρά- 
σαι. 
Πρῶτα μὲν γάρ, ἣν νεᾷν βούλησϑ᾽ ἐν ὥρᾳ τοὺς 
ἀγρούς, 


Ὕσομεν πρώτοισιν ὑμῖν, τοῖσι δ᾽ ἄλλοις ὕστερον. 
Εἶτα τὸν καρπόν τε καὶ tas ἀμπέλους φυλάξομεν, 
a 49 3 Ν , a) 2 3 » 
στε μήτ᾽ αὐχμὸν πιέζειν μήτ᾽ ἄγαν ἐπομβρί- 

αν. 1120 
“Hy δ᾽ ἀτιμάσῃ τις ἡμᾶς ϑνητὸς av οὔσας Feas, 
Προσχέτω τὸν νοῦν, πρὸς ἡμῶν οἷα πείσεται κα- 

κα, 

7 ‘ 


74 NE@EAAT. 


τ 
“1αμιβάνων οὔτ᾽ οἶνον οὔτ᾽ ἄλλ᾽ οὐδὲν ἐκ τοῦ yoo 
ρίου. 
‘“Hyix’ ἂν γὰρ αἵ τ᾽ ἐλᾶαι βλαστάνωσ᾽ αἵ τ᾽ ἄμ- 
σελοι, 
᾿ΑἸποκεκόψοντοι " τοιαύταις σφενδόναις παιήσο- 
WEY. | 1125 
“Hy δὲ πλινϑεύοντ᾽ ἴδωμεν, ὕδομεν καὶ τοῦ τέγους 
Τὸν κέραμον αὐτοῦ χαλάξαις στρογγύλαις συν- 


noel. ᾿ : 
Kav γαμῇ mov αὐτὸς 1) τῶν δυγγενῶν ἢ τῶν φί- 
λων, 


Ὕσομεν τὴν νύκτα πᾶσαν" ὥστ᾽ ἴσως βουλήσεται 
Kev ἐν Αἰγύπτῳ τυχεῖν ὧν μᾶλλον ἢ κρῖναι χα- 
κῶς. 1130 
ΣΤΡΕΨΙΑΔΗΣ. 
: , 
ITéuntn, tetas, τρίτη, μετὸ ταύτην δευτέρα, 
> ει Ν , ~ € ~ 
Et3’, ἣν eyo μάλιστα πασῶν ἡμερῶν 
, , 
Adoxa καὶ πέφρικα καὶ βδελύττομαι, 
Εὐϑὺυς μετὰ ταύτην ἔστ᾽ Evy τε καὶ νέα. 
ITas γάρ τις ὑμνυσ᾽, οἷς ὀφείλων τυγχάνω, 1135 Ὁ 
bas ~ ? ~ 3 ~ 
Osis μοι πρυτανεῖ᾽ ἀπολεῖν μέ φησι καξολεῖν, | 
Ewov μέτρι᾽ ἄττα καὶ δίκαι’ αἰτουμένου" , 
‘72 δαιμόνιε, τὸ μὲν τι νυνὲ uy λάβῃς, 
Ν 2 ~ ἣν at e ; 
To δ᾽ ἀναβαλοῦ μοι, τὸ δ᾽ ἄφες," οὔ φασίν ποτε 
7 ? - ~ 
Οὕτως ἀπολήιγεσϑ᾽, ἀλλὰ λοιδοροῦσί με 1140 
᾿ς ἀδικός εἰμι, καὶ δικάσεσθαί φασί μοι. 





Nov οὖν δικαζέσϑων " ὀλίγον γάρ μοι μέλει, 

Ὑἴπερ μεμάϑηκεν εὖ λέγειν Φειδιππίδης. 

Toya δ᾽ εἴσομαι κόψας τὸ φροντιστήριον. 

Hai, nui, παῖ παῖ. ᾿ 


᾿ 


ΝΕΦΕΛΑΙ. 


sj 
Qo 


ΣΩΚΡΑΤΗΣ. 
“Στρεψιάδην ἀσπάζομαι. 1145 
ΣΤΡΕΨΙΑΖΠΣ. 
Καγωγέ σ᾽" ἀλλὰ τουτονὶ πρῶτον λαβέ. 
«Χρὴ γὰρ ἐπιϑαυμάζειν τι τὸν διδάσκαλον. 
Kai μοι τὸν υἱόν, εἰ μεμοίϑηκε τὸν λόγον 
“Excivoy, εἴφ᾽, ὃν ἀρτίως εἰσήγαγες. 
ΣΟ ΟΡ ῬΈΡΞΣ. 
)εμάϑηκεν. 
ΣΤΡΕΨΙΑΔΗΣ. 
Li 7’, ὦ παμβασίλει᾽ ᾿“παιόλη. 1150 
ΞΟ ῬΑ ἘΞ. 
“μ2στ᾽ ἀποφύγοις ἂν ἥντιν᾽ ἂν βούλῃ δίκην. 
ΣΤΡΕΨΙΑΔΗΣ... 
Kei μάρτυρες παρῆσαν, ὅτ᾽ ἐδανειζόμην ; 
ΣΩΚΡΆΤΗΣ. 
Πολλῷ γε μάλλον, κἂν παρῶσι χίλιοι. 
ΣΤΡΕΨΙΑΔΗΣ. 


! 
Βοάσομαί τἄρα τῶν ὑπέρτονον 


βοάν. *Ia, κλάετ᾽ ὦ ᾿βολοστάται., 1155 
Avtoi τε καὶ τάρχαῖα καὶ τόκοι τόκων " 


Οὐδὲν; γὰρ ἄν με φλαῦρον ἐργάσαισϑ᾽ & ἔτι" 


Οἷος ἐμοὶ τρέφεται 

Τοῖσδ᾽ évt δώμασι παῖς, 

᾿1μφήκει γλώττῃ λάμπων, . 1160 
Πρόβολος ἐμός, σωτὴρ δόμοις, ἐχθροῖς βλάβη, 
Avouvias πατρῴων μεγάλων κακῶν" 

“Ὅν κάλεσον τρέχων ἔνδοϑεν ὡς ἐμέ. 


Ἶ) τέχνον, ὦ παῖ, cA? οἴχων, 1165 
5», “Ὁ ~ ’ 
Ae σοὺ πατρος. 


76 NE@EAAT. 


SNKPATHS. 
“Οδ᾽ ἐκεῖνος ἀνήρ. 
ΣΤΡΕΨΙΑΔΗΣ. 
"2 φίλος, ὦ φίλος. 
ΣΙ Ω ΚΡΑΤΕΥΙΣ. 
"Ζπιϑι λαβὼν τὸν viov. 
ΣΤΡΕΨΙΑΔΗΣ. 
"Le io τέκνον. 
“Lov ἰού. «1170 
“ὃς ἥδομαί σου πρῶτα τὴν χροιὰν ἰδών. 
Nouv μέν γ᾽ ἰδεῖν εἶ πρῶτον ἐξαρνητικὸς 
ἈΚαντιλογικος, καὶ τοῦτο τοὐπιχώριον 
᾿Αἰτεχνώς ἐπανϑεῖ τὸ “ti λέγεις σύ; καὶ δοκεῖν 
᾿“ἴδικοῦντ᾽ ἀδικεῖσθαι καὶ κακουργοῦντ᾽, old ὃ- 
τε: - 1175 
‘Ent tov προσώπου τ᾽ ἐστὶν ᾿“ττικὸν βλέπος. 
Nov οὖν ὅπως σώσεις μ᾽, ἐπεὶ κἀπώλεσας. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Φοβεῖ δὲ δὴ τί; 
ΣΤΡΕΨΙΑΔΗΣ. 
Τὴν ἕνην τε καὶ νέαν. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
"Evn γάρ ἐστι καὶ νέα τις ἡμέρα ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Eis ἣν γε ϑήσειν τὼ πρυτανεῖά φασί μοι. 1180 
ΦΕΙΔΙΠΠΙΔΗΣ. 
᾿ΖΙπολούσ᾽ ἄρ αὖϑ' οἱ ϑέντες" ov γὰρ Ech’ ὅπως 
Mv? ἡμέρα γένοιτ᾽ ἂν ἡμέραι δύο. 
ΣΤΡΕΨΙΑΔΗΣ. 
Οὐκ ἂν γένοιτο; 


A 


NE@®@EAAT. 


"2 
.. 


ΦΕΙΔΙΠΠΙΔΗΣ. 
Πῶς γάρ; εἰ μή πέρ γ᾽ ἅμα 
«ἀ«ὑτὴ γένοιτ᾽ ἂν γραῦς TE καὶ νέα γυνή. - 
ΣΤΡΕΨΙΑΔΗΣ. 
Καὶ μὴν νενόμισταί 7’. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Οὐ γὰρ, οἶμαι, τὸν νόμον 1185 
"1σασιν ὀρϑώῶς 6 τι νοεῖ. 


- 


ΣΤΡΕΨΙΑΔΗΣ. 
Nosi δὲ τί; 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Ὃ Σόλων ὃ παλαιὸς ἦν φιλόδημος τὴν φύσεν. 
ΣΤΡΕΨΙΑΔΗΣ. 
sy 4 3.47 ‘ » A , 
Τουτὶ μὲν οὐδέν πώ πρὸς ἕνην TE καὶ νξαν. 
ΦΕΙΔΙΠΠΊΔΗΣ. 
3 ~ > A ~ > hee , 
Ἐκεῖνος οὖν τὴν κλῆσιν εἰς dv’ ἡμέροις 
"Bonney, εἴς γε τὴν ἔνην τε καὶ νέαν, 1190 


“ν᾽ at ϑέσεις γίγνοιντο τῇ νουμηνίᾳ. 
ΣΤΡΕΨΙΑΔΗΣ. 

“να δὴ τί τὴν ἕνην προσέϑηκεν; 
ΦΕΙΔΙΠΠΙΔΗΣ. 

νὴ ὦ μέλε: 
Παρόντες οἱ φεύγοντες ἡμέρᾳ μιᾷ 
> 4 t 

Πρότερον ἀπαλλάττοινϑ᾽ ἑκόντες, εἰ δὲ μή, 

"Eatev ὑπανιῷντο τῇ νουμηνίᾳ. 1195 
ΣΤΡΕΨΙΑΔΗΣ. 

Πώς οὐ δέχονται δῆτα τῇ νουμηνίᾳ 

᾿Αρχαὶ τὰ πρυτανεῖ", ἀλλ᾽ Evy τε καὶ νέᾳ ; 
ΦΕΙΔΙΠΠΙΔΙΙΣ. 

“Ὅπερ οἱ προτένϑαι γὰρ δοκοῦσί μοι παϑεῖν. 
a 


73 NEQ@EAAT. 


€ Si ds f ‘ a) ee ’ 
IY ὡς τάχιστα ta mevtavet’ ὑφελοίατο, 
Ν = any oF. ς 4 lod 
Aid τοῦτο προὐυτένϑευσαν ἡμέρᾳ Mle. 1200 
ΣΤΡΕΨΤΑΖΔΗΣ. 
Εὖ 7’, ὦ κακοδαίμονες, τί κάϑησϑ᾽ ἀβέλτεροι, 
- ’ ΄, - ~ 2 ΄ 
Ἠμέτερα κέρδη τῶν σοφῶν, ὄντες λίϑοι; 
᾿Φριϑμός, πρόβατ᾽ ἄλλως, ἀμφορῆς νενησμένοι; 
“Rov εἰς ἐμαντὸν καὶ τὸν υἱὸν τουτονὶ ᾿᾿ 
"Ew εὐτυχία ἰστέ ὑγκώμι 1205 
π᾽ εὐτυχίαισιν ἀστέον μουγκώμιον. 
π ’ 
άκαρ ὦ «Στρεψίαδες, - 
Avtds τ᾽ ἔφυς ὡς σοφός, 
Xotov τὸν υἱὸν τρέφεις, 
Φήσουσι δή μ᾽ οἱ φίλοι 
Xo δημόται 1210 
Ζηλοῦντες ἡνίκ᾽ -ἂν σὺ νικᾷς λέγων τὰς δίκας. 
"AAW εἰσάγων σὲ βούλομαι πρῶτον ἑστιᾶσαι. 
IAZIAS. 
ag 53] = € Ἔ Χ “.7 
Εἶτ᾽ ἄνδρα τῶν αὑτοῦ τι yon προϊέναι ; 
Οὐδέποτέ γ᾽, ἀλλὰ κρεῖττον ἢν εὐθϑυς τότε 1215 
᾿Απερυϑριᾶσαι μᾶλλον ἢ σχεῖν πράγματα, 
Ὅτε τῶν ἐμαντοῦ γ᾽ ἕνεκα νυνὶ χρημάτων 
“Elune ce κλητεύσοντα, καὶ γενήσομαι 
᾿ΕΙχϑρὸς ἔτι πρὸς τούτοισιν ἀνδρὲ δημοτῃ. 
᾿“τὰρ οὐδέποτέ γε τὴν πατρίδα καταισχυνῶ 1220 
Ζῶν, ἀλλὰ xahovuat Στρεψιάδην 
ΣΤΡΕΨΙΑΔΗΣ. 
Τίς οὑτοσί; 
MAZIAZ . 
2 σὺ , Q i 
Eis τὴν ἔνην TE καὶ νέαν 
ΣΤΡΕΨΙΑΔΗΣ. 
, 
Maprveouat, 





NED EA AE fs 
‘Ou ἐς δύ᾽ εἶπεν ἡμέρας. Tov γρήματος ; 
ΠΑΣΊΑΣ. 
Tov δώδεκα ee ἃς ἔλαβες ὠνούμενος 
Tov ψαρον ἵππον. 
ΣΤΡΕΨΙΑΔΗΣ. 
Ἵππον; οὐχ ἀκούετε; ; — .35Ὁ 
“Ov πᾶντες ὑμεῖς ἴστε μισοῦνϑ᾽ ἱππικήν. 
|  WAZTIAS.- 
Kai νὴ Av? ἀποδώσειν γ᾽ ἐπώμνυς τοὺς Feovs. 
ΣΤΡΕΨΙΑΔΗΣ. 
Mea τὸν 40. οὐ γάρ πω τότ᾽ ἐξηπίστατο 
Φειδιππίδης μοι τὸν ἀκατάβλητον λόγον. 
WASIAS. 
Noy δὲ dia tovr’ ἔξαρνος εἶναι διανοεῖ; 1930 
ΣΤΡΕΨΙΑΔΗΣ. ; 
Ti γὰρ ἄλλ᾽ ἂν ἀπολαύσαιμι tov μαϑήματος ; 
MAZIAS. 
Καὶ ταῦτ᾽ ἐθελήσεις ἀπομόσαι μοι τοὺς ϑεούς ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Ποίους ϑεούς ; 
WAZSIAS. 
Tov ἬΝ τὸν “Ἑρμῆν, τὸν Ποσειδῶ. 
ΣΤΡΕΨΙΑΔΗΣ. 
Ny Δία, 
Κἂν προσκαταϑείην 7’, ὥστ᾽ ὀμόσαι, τριώβολον. 1238 
ΠΑΣΊΑΣ. 
᾿“πόλοιο τοίνυν ἕνεκ᾽ ἀναιδείας ἔτι. 
STPEWIAANS. 
᾿“4λσὶν διασμηχϑεὶς ὄναιτ᾽ ἂν οὑτοσί. 


80 NEBEAAT. 


e 


IAZSIAS. 
5» 9 « baad 
Ow ὡς καταγελᾷς. 
ΣΤΡΕΨΙΑΔΗΣ. 
“ἜΣ χοᾶς χωρήσεται. 
ΠΑ͂ΣΙΑΣ. 
Οὔ τοι μὰ τὸν Δία τὸν μέγαν καὶ τοὺς ϑεοὺς 
μοῦ καταπροίξει. 
ΣΤΡΕΨΙΑΔΗΣ. 
Θαυμασίως ἤσϑην ϑεοῖς, 1240 
Καὶ Ζεὺς γέλοιος ὀμνύμενος τοῖς εἰδόσιν. 
ΠΑΣΙΑΣ. 
Ἢ μὴν σὺ τούτων τῷ γρόνῳ δώσεις δίκην. 
2 ee 5.}9 r \ r 9% , 
AAW εἴτ᾽ ἀποδώσεις μοι TH YONUAT’ εἴτε μή; 
᾿ΑΙπόπεμψον ἀποκρινάμενος. 
ΣΤΡΕΨΙΑΔΗΣ. 
3; Ω 
Eye νυν ἡσύυχος. 
3 Ἁ Ἁ > ᾽ὔ 3 > ws ? ~ 
Eye γὰρ αὐτίκ᾽ ἀποκχρινούμαΐ σοι cagas. 1245 
WAZIAS. 
Τί σοι δοκεῖ δράσειν ; 
MAPTTS. 
‘Anodacev μοι δοκεῖ, 
ΣΤΡΕΨΙΑΔΗΣ. 
Ποῦ ’o# οὗτος ἁπαιτῶν με τἀργύριον ; Δέγε, 
Τουτὲ τί ἐστί; 
IASIAS. 
Tov? 6 τι ἐστί; κάρδοπος. 
ΣΤΡΕΨΙΑΔΗΣ. 
"Exe? ἀπαιτεῖς τἀργύριον τοιοῦτος ὧν ; 
Οὐκ ἂν ἀποδοίην οὐδ᾽ ἂν ὀβολὸν οὐδενί, 1250 
Ld 4 Ul ‘ / 
Oots καλέσειε κάρδοπον THY καρδόπην. 


NE@GDEAAT. 81 


ΠΑ͂ΣΤΑΣ. 
Οὐχ ἄρ᾽ ἀποδώσεις ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Οὐχ, ὅσον γέ μ᾽ εἰδέναι. 
Οὔκουν ἀνύσας τι ϑᾶττον ἀπολιταργιεῖς 
‘Ano τῆς ϑύρας ; 


IAZIAS. 
"Anew, καὶ τοῦτ᾽ ἴσϑ᾽, ὅτι 
, ~9 WA , / > ἤ ἘΞῈΞ 
Θηήσω πρυτανεῖ᾿" ἢ μηκέτι ζῴην ἐγώ. 1255 
ΣΤΡΕΨΙΑΔΗΣ. 


Προσαποβαλεῖς ἀρ’ αὐτὸ πρὸς ταῖς δώδεκα. 
Καίτοι σὲ τοῦτό γ᾽ ovyi βούλομαι παϑεῖν, 

ς Ἂν Ἢ 2 ~ ‘ “ 

Orn ᾽κάλεσας ενηϑικώς τὴν κάρδοπον. 


ΑΜΥΝΙΑΣ. 
2 , ω» 
To mot μοι. 
ΣΤΡΕΨΙΑΔΗΣ. 
"Ele. | 
Tis οὑτοσί ποτ᾽ ἔσϑ'᾽ ὁ ϑρηνῶν ; ov ti mov 1260 


Τῶν Καρκίνου τις δαιμόνων ἐφϑέγξατο ; 
AMYNIAS. 
Tt δ᾽ ὅστις εἰμί, τοῦτο βούλεσϑ᾽ εἰδέναι ; 
“Avie κακοδαίμων... 
ΣΤΡΕΨΙΑΔΗΣ. 
Kata σεαυτόν νυν τρέπον 
AMPNIAZ ) 

*2 σκληρὲ δαῖμον, ὦ τύχαι ϑραυσάντυγες 
Ἵππων ἐμῶν": ὦ Παλλάς, ὥς w ἀπώλεσας. 1965 
ΣΤΡΕΨΙΑΔΗΣ. 

Tt dat σε Τληπόλεμός ποτ᾽ εἴργασται κακόν ; 


NEGDEAAT. 


AMYNIAZ. 

My oxanté w, ὦ τᾶν, ἀλλά μοι τὸ χρήματα 
Tov υἱὸν ἀποδοῦναι. κέλευσον ἃ λαβεν, 

wv , \ ἊΨ , 
«Ἄλλως TE μέντοι καὶ κακώς πεπραγότι. 


ΣΤΡΕΨΙΑΔΗΣ 
Τὰ ποῖα ταῦτα χρήμαϑ᾽ ; 


AMrNIAZ. 


“A 'δανείσατο. 1270 
ΣΤΡΕΨΙΑΔΗΣ. 


Καχώς &0’ ὄντως εἶγες. ὡς γ᾽ ἐμοὶ δοκεῖς. 
S G 9 : 


AMYNIAS. 
Cf ? , a7 Ν᾿ Ἁ [4 
{ππους ἐλαύνων ἐξέπεσον vy τοὺς ϑεοῦς. 


ΣΤΡΕΨΙΑΔΗΣ. 
Ti δῆτα ληρεῖς ὥσπερ an’ ὄνου καταπεσών ; 


ΑἸ ΜΥΝΙΑ͂Σ. 


Anoa, τὸ χρήματ᾽ ἀπολαβεῖν εἰ βούλομαι ; 


ΣΤΡΕΨΙΆΑΜΗΣ: 
Οὐκ ξσϑ' ὅπως σύ γ᾽ αὐτὸς ὑγίαίνεις. 


ΑΜΥΝΙΑΣ. | 
Ti δαί; 1275 
STPEWIASHS.  . | 
Tov ἐγκέφαλον ὥσπερ σεσεῖσϑαί μοι δοκεῖς. 
ΑΜΥΝΙΑΣ. 


“Σὺ δὲ νὴ τὸν “Ἑρμὴν προσκεκλησθαΐ μοι δοκεῖς, 
Ei μαποδώσεις τἀργύριον. 


ΣΤΡΕΨΙΑΔΗΣ. 
Κατειπέ νυν, 

Πότερα νομίζεις καινὸν ἀεὶ tov Aa 

“Yewv ὕδωρ. ἑκοίστοτ᾽, ἢ τὸν ἥλιον 


1280. 
a ~ 
hus κάτωϑεν ταὐτὸ τοῦϑ᾽ ὕδωρ πάλιν ; 
΄ 


ἈΠ ΖΕ AT. 89 


AMTNIAZ. 
Οὐκ οἶδ᾽ ἔγωγ᾽ ὁπότερον, οὐδέ μοι μέλει. 
ΣΤΡΕΨΙΑΔΗΣ. 
Has οὖν ἀπολαβεῖν ταργύριον δίκαιος εἶ, 
Et μηδὲν οἶσϑα τῶν μετεώρων πραγμάτων ; 
ΑΜΥΝΙΑ͂Σ. 
‘ALL εἰ σπανίζεις, τἀργυρίου μοι τὸν τόκον — 1285 
‘Anodos γε. 
ΣΤΡΕΨΙΑΔΗΣ. 
Tovto δ᾽ ἔσϑ'᾽ ὁ τόκος τί ϑηρίον ; 
AMYNIAZ. 
Ti δ᾽ ἄλλο γ᾽ ἢ κατὰ μῆνα καὶ xa? ἡμέραν 
Πλέον πλέον τἀργύριον ἀεὶ γίγνεται, 
“Ὑποῤῥέοντος τοῦ γρόνου ; 
ΣΤΡΕΨΙΑΖΗ͂Σ. 
Καλῶς λέγεις. 
Τί δῆτα ; τὴν ϑάλατταν ἔσϑ᾽ ὅτι πλείονα, 1290 
Νυνὶ νομίζεις ἢ πρὸ τοῦ; 2 
AMTNIA2. 
Mea Ai’, ἀλλ᾽ ἴσην. 
Οὐ γὰρ δίκαιον πλείον᾽ εἶναι. 
ΣΤΡΕΨΙΑΔΗΣ. 
Κᾷτα πῶς 
Avin μέν, ὦ κακόδαιμον, οὐδὲν γίγνεται 
᾿Επιῤῥεόντων τῶν ποταμῶν πλείων, συ δὲ 
Ζητεῖς ποιῆσαι τἀργύριον πλεῖον τὸ σόν ; 199 
Οὐκ ἀποδιώξει σαντὸν ἀπὸ τῆς οἰκίας ; 
Φέρε μοι τὸ κέντρον. 
ΑΜΥΝΙΑΣ. 
Ταῦτ᾽ éya μαρτύρομαι. 


84 NE@EAAT. 


ΣΤΡΕΨΙΑΔΗΣ. 
4 2 by 5 , 
Ὕπαγε, τί μέλλεις ; οὐκ ἐλᾷς, ὦ σαμφόρα ; 
AMTPNIAZ. 
Ταῦτ᾽ οὐχ ὕβρις δητ᾽ ἐστίν ; 
ΣΤΡΕΨΙΑΔΗΣ. 
“Aikets ; ἐπιαλῶ 
~ , 
Kevtav ὑπὸ τὸν πρωκτόν GE TOY σειραφόρον.  130t 
(Φεύγεις ; ἔμελλον @ aoa κινήσειν eyo 
«Αὐτοῖς τροχοῖς τοῖς σοῖσι xat ξυνωρίσιν. 
ΧΟΡΟΣ: 
Οἷον τὸ [ ἐρᾷν φλαύρων" ὁ γὰ 
iov τὸ πραγμάτων ἐρᾷν phave 00 
4 Cap 2 
Τέρων 0d ἐξαρϑεὶς 
᾿ΑΙποστερῆσαι βούλεται 1305 
Τὰ γρήμαϑ᾽ ἃ daveicato: 
Ἀούκχκ ἔσϑ᾽ ὅπως οὐ τήμερον 
“ἠψεταΐ τι may’, ὃ τοῦ- 
τον ποιήσει τὸν σοφιστὴν * * 
"Το ~ 2! 9 Sie; ᾽΄ ~ 
* ὧν πανουργεῖν ἠρξατ᾽, ἐξαίφνης λαβεῖν xo,- 
κόν τι. 1310 
sy Ἀ > ‘ 2 ὩΣ . 5 [4 c 
Oiuat γὰρ AVTOY αὐτίχ᾽ εὑρήσειν OED 
Πάλαι ποτ᾽ ἑζήτει, 
Εἶναι τὸν υἱὸν δεινόν ot 
7᾽νώμας ἐναντίας λέγειν 
rz ὦ , τ᾿ 5 
Τοῖσιν δικαίοις, ὥστε νι- 1310 
κᾷν ἅπαντας οἷσπερ ἂν 
bo 4 x , , 9 
Ξυγγένηται, κἂν λέγῃ παμπόνηρ᾽. 
Ἴσως δ᾽ tows βουλήσεται κἄφωνον αὐτὸν εἶναι. 1320 
ΣΤΡΕΨΙΑΔΗΣ. 
af \ 3 
ov Cov. 


s ’ ~ 
“2 γείτονες καὶ ξυγγενεῖς καὶ δημόται, 


NEOEAAI. 85 | 


> FOLEY: , , νον." ΄ 

“μυνάϑετε μοι τυπτομένῳ πᾶσῃ τέχνῃ. 

Otuor κακοδαίμων τῆς κεφαλῆς καὶ τῆς γνάϑου. 
"2 μιαρέ, τύπτεις τὸν πατέρα | 


ΦΕΙΔΙΠΠΙΔΗΣ. 
Φήμ᾽, ὦ πάτερ. 1325 
ΣΤΡΕΨΙΑΔΗΣ. 
“Ood® ὁμολογούῦνϑ᾽ ὅτι με τύπτει. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Καὶ μάλα. 
ΣΤΡΕΨΙΑΔΗΣ. 
* 2 βίαρε καὶ πατραλοῖα καὶ τοιχωρύχε. 
ΦΕΙΔΙΠΠΙΔΗΣ. 


AFIS με ταὐτὸ ταῦτα καὶ πλείω λέγε. 
* Ao’ otc? ὅτι χαίρω πόλλ᾽ ἀκούων καὶ κακά ; 
ΣΤΡΕΨΙΑΔΗΣ. 
"2 λακκόπρωκτε. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Πάττε πολλοῖς τοῖς δόδοις. 1330 
ΣΤΡΕΨΙΑΔΗΣ. 
A 4 , 
Tov πατέρα, τύπτεις ; 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Καποφανῶ γε νὴ ἡ “Μία 
“(Ὡς ἐν δίκῃ σ᾽ ἔτυπτον. 
ΣΤΡΕΨΙΑΔΗΣ. 
3 , 
“2 μιαρώτατε, 
Kai nas γένοιτ᾽ ἂν πατέρα τύπτειν ἐν δίχῃ; 


ΦΕΙΔΙΠΠΙΔΉΣ. 
"Ἔγωγ᾽ ἐς nat σε νικήσω λέγων. 
ΣΤΡΕΨΙΑΔΗΣ. 
Τουτὶ ov ‘ceiaeis: ΓΝ ᾽ 


+) Β 


86 NE@®EAAT. 


® EIAINMIAWS. . 
Πολύ γε καὶ ῥᾳδίως. 1335 
“Πλοῦ δ᾽ ὁπότερον τοῖν λόγοιν βούλει λέγειν. 
STPEPVIAAHS. 
Ποίοιν λόγοιν ; 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Τὸν κρείττον᾽, ἢ τὸν ἥττονα. 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿Εδιδαξάμην μέντοι σε νὴ Ai’, ὦ μέλε, 
Τοῖσιν δικαίοις ἀντιλέγειν, εἰ ταῦτά γε 
Medhets ἀναπείσειν, ὡς δίκαιον καὶ καλὸν 1340 
Tov πατέρα τύπτεσϑ'᾽ ἐστὶν ὑπὸ τῶν vigor. 
ΦΕΙΔΙΠΠΊΔΗΣ. 
AA οἴομαι μέντοι. σ᾽ ἀναπείσειν, ὥστε γε 
Οὐδ᾽ αὐτὸς ἀκροασοΐίμενος οὐδὲν ἀντερεῖς. 
ΣΤΡΕΙΙΑΜΗΣ 
Καὶ μὴν ὅ τι καὶ λέξεις ἀκοῦσαι βούλομαι. 
XOPOS. | 
Lov ἔργον, ὦ πρεσβῦτα, φροντίζειν ὅπη 1345 
Τὸν ἄνδρα χρατήσεις, 
“Μὲς οὗτος, εἰ μή τῳ ᾽πεποίϑειν, οὐκ ἂν ἣν 
Οὕτως ἀκόλαστος. \ 
“AA ἔσϑ'᾽ ὅτῳ Foacvvetar* δῆλον γέ τοι 
Τὸ λῆμα τὸ τἀνδρός. 1350 
"AW ἐξ ὅτου te πρώτον ἤρξαϑ'᾽ ἡ μάχη γενέσϑαι 
"Hon λέγειν yon πρὸς χορόν" πάντως δὲ τοῦτο 
δράσεις. μ 
ΣΤΡΕΨΙΑΔΗΣ. 
Καὶ μὴν ὅϑεν γειπρῶώτον ἠρξάμεσθα λοιδορεῖσϑαι 
"Eye φράσω" ’πειδη γὰρ εἱστιὠμεϑ', ὥσπερ ἴστε, 


NE@DEAAI. | 87 


Πρῶτον μὲν αὐτὸν τὴν λύραν λαβόντ᾽ ἐγὼ ’xé- 
λευσα 1305 
᾽ἄισαι Σιμωνίδου μέλος, τὸν Κριόν, ὡς ἐπέχϑη. 
Ὃ & εὐθέως ἀρχαῖον εἶν᾽ ἔφασχε τὸ κιϑαρίζειν 
"Ade τε πίνονθ᾽, ὡσπερεὶ κάχρυς γυναῖχ᾽ ἀλοῦ- 
σαν. 
| _, ΦΕΙΔΖΊΠ ΠΙΔΉΣ. 
Οὐ γὰρ τότ᾽ εὐθυὺς χρῆν σ᾽ ἄρα τύπτεσϑαί τε καὶ 
ogg ne: Ano 
"Ads κελεύονϑ᾽, ὡσπερεὶ τέττιγας ἑστιώντα ; 1360 
ΣΤΡΕΨΙΑΔΗΣ. 
Τοιαῦτα μέντοι καὶ τότ᾽ ἔλε ee ἔνδον, οἷάπερ νῦν, 
Καὶ τὸν Σιμωνίδην ἔφασκ᾽ εἶναι κακὸν ποιητήν. 
Kayo μόλις μέν, ἀλλ᾽ ὅμως «ἠνεσχόμην τὸ πρῶτον" 
"Enea δ᾽ ἐχέλευσ᾽ αὐτὸν ἀλλὰ μυῤῥίνην λαβόντα 
Τῶν Αἰσχύλον λέξαι τί μοι" κἀϑ’ οὗτος εὐϑὺς 
εἶπεν, 1365 
‘Eye γὰρ «Αἰσχύλον νομίζω πρῶτον ἐν ποιηταῖς, 
Popov πλέων, ἀξύστατον, στόμφοακα, xoenuvo- 
ποιόν." | 
Κἀνταῦϑα πῶς οἴεσϑέ μου τὴν καρδίαν ὀρεχϑεῖν; 
“Ὅμως δὲ τὸν ϑυμὸν daxav ἔφην, LV δ᾽ ἀλλὰ 
τούτων ) 
Aifov τι τῶν νεωτέρων, ἅττ᾽ ἐστὲ Ta σοφὰ ταῦ- 
τα. aah lgro 
Ὃ δ᾽ εὐϑυὺς 70° Εὐριπίδου ῥῆσίν τιν᾽. ὡς ἐκίνει 
᾿“δελφός, ὦ "λεξίκακε, τὴν ὁομητρίαν ἀδελφήν." 
Κἀγὼ οὐκέτ᾽ ἐξηνεσχόμην, ἀλλ᾽ evdus Se 
Πολλοῖς κακοῖς καβακβοῖσε ᾿ κατ᾽ ἐντεῦϑεν, Ὁἷον 
- φέκθο, 


88 NE@GEAAT. 


"Eros πρὸς ἔπος ἠρειδόμεσϑ᾽ - eth οὗτος ἐπανα- 


πηδᾷ, 1375 
Kare’ ἔφλα με κασπόδει κἄπνιγε κἀπέτριβεν. 
ΦΕΙΔΙΠΠΙΔΗΣ. 


Ούχουν δικαίως, ὅστις οὐκ Εὐριπίδην ἐπαινεῖς, 
“Σοφώτατον ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Lopatatoy γ᾽ ἐκεῖνον, ὦ τί ο᾽ εἴπω; 
AV αὖϑις αὖ τυπτήσομαι. 
Oe BEATS 
Ny τὸν Ai’, ἐν δίκῃ γ᾽ ἄν. 
ΣΤΡΕΨΙΑΔΗΣ. 
Καὶ πῶς δικαΐως ; ὅστις ὦ ᾽ναίσχυντέ σ᾽ ἐξέϑρε- 
ψα, Meee coe. 
Aictavouevos cov πάντα τραυλίζοντος, δ᾽ τι “οοίης. 
Εἰ μέν γε βρῦν εἴποις, ἐγὼ γνοὺς ἂν πιεῖν ἐπέσχον" 
Μαμμᾶν δ᾽ ἂν αἰτήσαντος ἧκόν σοι φέρων ἂν ἂρ- 
τον " [ΤΩ | 
Κακκᾶν δ᾽ ἂν οὐκ ἔφϑης φράσαι, καγῶ λαβὼν 
ϑύραζε | 
᾿Εξέφερον ἂν καὶ προὐσχόμην σε" συ δ᾽ ἐμὲ νῦν 
ἀπάγχων 1385 
Βοώντα καὶ κεκραγόϑ᾽ ὅτι 
“Χεζητιῴην, οὐκ ἔτλης. 
Ἔξω 'ξενεγκεῖν, ὦ μιαρέ, 
Θύραζέ μ᾽, ἀλλὰ πνιγόμενος 
«Αὐτοῦ '’ποίησα κακκᾶν. ͵ 1390. 
XOPO. 
Oinai γε τῶν νεωτέρων τὰς καρδίας 
Πηδᾷν, ὃ τι λέξει. 


NEQ@DEAAT, 89 


Ei γὰρ τοιαῦτά γ᾽ οὗτος ἐξειργασμένος 

Aahayv ἀναπείσει, 

Τὸ δέρμα τῶν γεραιτέρων λάβοιμεν ἂν 1306 

‘ALM: οὐδ᾽ ἐρεβίνϑου. Ὁ ἴοι 

Sov ἔργον, ὦ καινῶν ἐπῶν κινητὸ καὶ μοχλευτά, 

Πειϑώ τινα ζητεῖν, ὅπως δόξῃς λέγειν δίκαια. 

ΦΕΙΔΙΠΠΙΔΗΣ. 

“fs nov καινοῖς πράγμασιν καὶ δεξιοῖς ὁμιλεῖν, 

Καὶ τῶν καϑεστώτων νόμων ὑπερφρονεῖν δύνα- 
σϑαι. 1400 

᾿Εγὼ id ὅτε μὲν ἱππικῇ τὸν νοῦν μόνον προσ- 
εἶχον, ha 

Οὐδ᾽ ἂν “τρί; εἰπεῖν ῥήμαϑ' οἷός τ’ it “πρὶν ἐξωμαρ. 
πεῖν" 

Novi δ᾽ ἐπειδή μ᾽ οὑτοσὶ τούτων ἔπαυσεν αὐτός, 

Τνώμαις "δὲ λεπταῖς καὶ λόγοις ξύνειμι: καὶ μερί- 


ᾷ Vas, 
Οἶμαι διδάξειν ὡς δίκαιον τὸν πατέρα κολά- 
ζειν. 1405 
ΣΤΡΕΨΙΑΔΗΣ. 


ἽΠππευε τοίνυν νὴ Ai’, ὡς ἔμοιγε κρεῖττόν ἔστιν 
Ἵππων τρέφειν τέϑριππον ἢ. τυπτόμενον ἐπιτρι- 
βῆναι. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
᾿Εκεῖσε δ᾽ ὅϑεν ἀπέσχισας με τοῦ λόγου μέτειμι, 
Καὶ πρῶτ᾽ ἐρήσομαί σε τουτί" παῖδά μ᾽ ὄντ᾽ ἔ- 
το TURTES ; 
ff J, ZTPBEPIAAHS. | 
"Evyayé σ᾽, εὐνοῶν τε καὶ κηδόμενος. 
8". 


90 . NEDEAAT. 


ΦΕΙΔΙΠΠΙΔΗΣ. 
Εἰπὲ δή μοι, 1410 
Ov κἀμέ ὁ σοι δίκαιόν ἐστιν εὐνοεῖν ὁμοίως, 
Τύπτειν τ’, ἐπειδήπερ γε τοῦτ᾽ ἔστ᾽ εὐνοεῖν, τὸ 
τύπτειν ; 
Πῶς γὰρ τὸ μὲν σὸν σῶμα χρὴ πληγῶν ἀϑῶον 
εἶναι, 


Τοὐμὸν δὲ μή; καὶ μὴν ἕφυν ἐλεύϑερός γε κἀγώ. . 


Κλάουσι παῖδες, πατέρα δ᾽ ov κλάειν Στ 1 141590} 


Φήσεις "ΠῚ a γε παιδὸς τοῦτο τοῦθ ον εἶναι; 
"Eva δέ γ᾽ ἀντείποιμ᾽ ἂν ὡς δὶς παῖδες of γέροντες" 
> Q ‘ ~ Ἀ . n , A 
ἰκος δὲ μάλλον tous γέροντας ἢ νέους tt xhaELy, 
“Ὅσῳπερ ἐξαμαρτάνειν ἧττον δίκαιον αὐτούς. 
; ΣΤΡΕΨΙΑΔΗΣ. 
"AAW οὐδαμοῦ νομίζεται τὸν πατέρα τοῦτο πά- 


OYE. 1420 
ΦΕΙΔΙΠΠΙΔΉΣ. 
Οὔκουν ἀνὴρ ὁ τὸν νόμον ϑεὶς τοῦτον ἦν τὸ πρώ- 
τον, 
“Ὥσπερ συ κἀγώ, καὶ λέγων ἔπειϑε τοὺς παλαι- 
οὐς: 


ἽΠττον τί δητ᾽ ἔξεστι κἀμοὶ καινὸν αὖ τὸ λοιπὸν 


Θεῖναι νόμον τοῖς υἱέσιν, τοὺς πατέρας ἀντιτύ-᾿ 


πτειν; 
Ὅσας δὲ πληγὰς εἴχομεν πρὶν τὸν νόμον τεϑῆ- 
VOC, 1425 


᾿“φίεμεν, καὶ δίδομεν αὐτοῖς mecine. συγκεκόφϑαι, 

SV Α͂ 

“Σκέψαι δὲ τοὺς ἀλεχτρυόνας καὶ τἄλλα τὸ “βοτὰ 
ταυτί, 

ἱμὸς τοὺς πατέρας aes καΐτοι τί διαφέρουσιν 


Ψ 
L 


ΝΕΦΕ 4.41. 91 


“Ημῶν ἐκεῖνοι, πλὴν ὅτι ψηφίσματ᾽ ov γράφουσιν: 
, ΣΤΡΕΨΙΑΔΗΣ. 
Tt ὃ = α > ὃ \ \ > a / q 
ὁ ONT’, ἐπειδὴ τοὺς ἀλεκτρυόνας ἀπαᾶαντὰ μι- 


μιεῖ, 1430 
Οὐκ ἐσϑίεις καὶ τὴν κόπρον κἀπὶ ξύλου καϑεύ- 
δεις ; 
ΦΕΙΔΙΠΠΙΔΗΣ. 


Οὐ ταὐτόν, ὦ τᾶν, ἐστιν, οὐδ’ ἂν Σωκράτει δοκοίη. 
ΣΤΡΕΨΙΑΔΗΣ. 
Πρὸς ταῦτα μὴ tint’: εἰ δὲ μή, σαυτόν ποτ᾽ αἰ- 
τιάσει. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Καὶ πώς ; 
ΣΤΡΕΨΙΑΔΗΣ, 
᾿Επεὶ σὲ μὲν δίχαιός εἰμ᾽ ἐγὼ κολάζειν," 
Σὺ δ᾽, ἣν γένηταί σοι, τὸν υἱόν. 
Ἶ ΦΕΙΔΙΠΠΙΔΗΣ. 
Ἂν δὲ wn γένηται, 1435 
Μάτην ἐ ἐμοὶ κεκλαύσεται, ov δ᾽ ἐγχανὼν τεϑνήξεις.. 
ΣΤΡΕΨΙΑΔΗΣ. 
᾿Εμοὶ μὲν, ὦνδρες ἥλικες, δοκεῖ λέγειν δίκαια" 
Κάμοιγε συγχωρεῖν δοκεῖ τούτοισι τἀπιεικῇ" 
Κλάειν γὰρ ἡμᾶς eixds ἐστ᾽, ἢν μὴ δίκαια δρῶμεν. 


ΦΕΙΔΙΠΠΙΔΗΣ. 
“Σκέψαι δὲ yatégay ἔτι γνώμην. 
ΣΤΡΕΨΙΑΔΗΣ. 
» ‘Ano γὰρ ὀλοὔμαι. 1440 
ins ΦΕΙΔΙΠΠΙΔΗΣ. 


Καὶ μὴν ἴσως γ᾽ οὐκ ἀχϑέσει παϑὼν ἃ νῦν πέ- 
πονύλας. 


92 NE@GEAAT. 


=TPEPIAAHS. 


Πῶς δή; δίδαξον γὰρ ti μ᾽ ἐκ τούτων ἐπωφελή- 


σεις. 

ΦΕΙΔΙΠΠΙΔΗΣ. 
THY μητέρ᾽ ὥσπερ καὶ σὲ τυπτήσω. 

ΣΤΡΕΨΙΑΔΗΣ. 


Τοῦϑ᾽ ἕτερον αὖ μεῖζον κακόν. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
Ti δ᾽, ἣν ἔχων τὸν ἥττω 
“1Ὅγον σὲ νικήσω λέγων 
Τὴν μητέρ᾽ ὡς τύπτειν γρεών ; 
ΣΤΡΕΨΙΑΔΗΣ. 
Τί δ᾽ ἄλλο γ᾽ ; ἣν ταυτὶ ποιῇς, 
Οὐδέν σε κωλύσει σεαυ- 
τὸν ἐμβαλεῖν ἐς τὸ βάραϑρον 
Meta Σωκράτους 
Καὶ τὸν λόγον τὸν ἥττω. 
᾿  αυτὶ ov ὑμᾶς, ὦ Νεφέλαι, πέπονϑ᾽ ἐγώ, 
“Ὑμῖν ἀναϑεὶς ἅπαντα τἀμὰ πράγματα. 
ΠΗ ote XOPOS. 
Αὐτὸς μὲν οὖν σαυτῷ συ τούτων αἴτιος, 
“τρέψας σεαυτὸν ἐς πονηρὰ πράγματα. 
ΣΤΡΕΨΙΑΔΗΣ. 


Τί φῇς; τί φῇς σύ; 


1445 


1450 


Tt δῆτα ταῦτ' ov μοι τότ᾽ ἠἡγορεύετε, κ᾿ 


3 u >! r 

ALN ἀνδρ᾽ ἄγροικον καὶ γέροντ᾽ ἐπήρετε; - 
XOPOS. 

‘Huis ποιοῦμεν ταῦϑ᾽ ἑκάστοϑ᾽ ὅντιν᾽ ἂν 

I'vapev πονηρῶν ὄντ᾽ ἐραστὴν πραγμάτων, 

c \ 32 \ > / > if 

Las av αὑτὸν ἐμβάλωμεν εἰς κακόν, 


1460 





NEDBEAAT. 


“Ὅπως ἂν εἰδῇ τοὺς ϑεοὺς δεδοικέναι. 


ΣΤΡΕΨΙΑΔΗΣ. 
"μοι, πονηρά γ᾽, ὦ Νεφέλαι, δίκαια δέ. 
Οὐ γάρ μ᾽ ἐχρὴν τὸ χρήμαϑ᾽ ἃ ᾿δανεισάμην 
‘Anootegeiv. Νῦν οὖν ὅπως, ὦ φίλτατε, 
Tov Xaigepavta τὸν μιαρὸν καὶ Σωκράτη 
“Anoksis μετελϑῶν, ot σὲ xaw ἐξηπάτων. 
ΦΕΙΔΙΠΠΙΔΗΣ. 
“AAW οὐκ ἂν ἀδικήσαιμι τοὺς διδασκαίλους. 
| ΣΤΡΕΨΙΑΔΗΣ. 
Nai vai, καταιδέσθητι πατρῷον Δία. 
: ΦΕΙΔΙΠΠΙΔΗΣ. 
᾿Ιδού γε dia πατρῷον" ὡς ἀρχαῖος εἶ. 


Ζεὺς γάρ τις ἔστιν ; 


ΣΤΡΕΨΙΑΔΗΣ. 
"Ἔστιν. 
ΦΕΙΔΙΠΠΙΔΗΣ. 


93 


1465 


Οὐχ zor’ οὔκ᾽ eel 1470 


Aivos βασιλεύει, tov Ai’ ἐξεληλακώς. 
STPEWIAAHS. 
Οὐκ ἐξελήλακ " ἀλλ᾽ ἐγὼ τοῦτ᾽ φόμην, 


“Γιὰ τουτονὶ tov Aivoy. Οἴμοι δείλαιος, 


“Ὅτε καὶ σὲ χυτρεοῦν ὄντα ϑεὸν ἡγησάμην. 
: ®EIAIMNMIAHS. 
᾿Ενταῦϑα σαυτῷ mapapodver καὶ φληνάφα. 
Ke ΣΤΡΕΨΙΑΔΗΣ. 
Οἴμοι παρανοίας “" ὡς ἐμαινόμην ἄρα, 
"Oy ἐξέβαλλον τοὺς ϑεοὺς διὰ Σωκρατη. 
᾿Αλλ᾽, ὦ φίλ᾽ “Ἑρμῇ, μηδαμῶς ϑυμαινέ" μοι, 


Μηδὲ w ἐπιτρίψῃς, ἀλλο συγγνώμην ἔχε 


1475 


94 NE@EAAT. tf, 


Huov παρανοήσαντος ἀδολεσχίᾳ. ἰὼ ζΖ,,ζο{[148ὺ 
ab μοι γενοῦ ξύμβουλος, εἴτ᾽, αὐτοὺς γραφὴν 
Ζιωκάϑω γραψάμενος, "εἰ9᾽ δ᾽ τι Cou δοκεῖ; 

᾿Ορϑώς παραινεῖς οὐκ ἐῶν δικοῤῥαφεῖν," E alan 
‘AAW ὡς ταχιστ᾽ ἐμπιμπράναι τὴν οἰκίαν ir @ 
Tov ἀδολεσγῶν. Δεῦρο δεῦρ᾽, ὦ Ξανϑία, 1485 
Κλίμακα λαβὼν ἔξελϑε καὶ σμινύην φέρων, 
Καπειτ᾽ ἐπαναβὰς ἐπὶ τὸ φροντιστήριον 
To τέγος κατάσκαπτ᾽, εἰ φιλεῖς τὸν δεσπότην, 
“Eas ἂν αὐτοῖς ἐμβάλῃς τὴν οἰκίαν" 
“Ewot δὲ δᾷδ᾽ ἐνεγκάτω τις ἡμμένην, 1490 
Kayo τιν᾽ αὐτῶν τήμερον δοῦναι δίκην 
᾿Εμοὶ ποιήσω, κεὶ σφόδρ᾽ εἴσ᾽ ἀλαζόνες... 
ΜΑΘΗΤΗΣ A. 
“Lov ἰού. 
ΣΤΡΕΨΙΑΔΗΣ. 
“Σὸν ἔργον, ὦ δᾷς, ἱέναι πολλὴν φλόγα. 
ΜΑΘΗΤΗΣ Α. 
* AvSoane, τί ποιεῖς ; 
ΣΤΡΕΨΙΑΔΗΣ. 
“Ὁ τι ποιῶ; τί δ᾽ ἄλλο γ᾽ ἢ 1495 
ΖΔιαλεπτολογοῦμαι ταῖς Soxels τῆς οἰκίας. 
ΜΑΘΗΤΗΣ. B. 
Οἴμοι, τίς ἡμῶν πυρπολεῖ τὴν οἰκίαν ; 
; ΣΤΡΕΨΙΑΔΗΣ. 
᾿Μαεῖνος οὗπερ ϑοἰμάτιον εἰλήφατε. 
ΜΑΘΉΤΗΣ Τ. 
" ἀπολεῖς ἀπολεῖς. 
ΣΤΡΕΨΙΑΒΗΣ. 
Tour’ αὐτὸ yde καὶ βούλομαι, 





NE®DEAAI. 


“Hy ἡ outvay μοι μὴ προδῷ τὰς ἐλπίδας, 1500 
“H ᾿γὼ πρότερόν πως ἐκτραχηλισϑῶ πεσών 
ΣΩΚΡΑΤΗΣ. 
Οὗτος, τί ποιεῖς ἐτεόν, οὑπὶ TOU τέγους ; 
τ ΣΤΡΕΨΙΑΔΗΣ. 
᾿ΑΙεροβατῶ, καὶ περιφρονῶ τὸν ἥλιον. 
ΣΏΚΡΑΤΗΣ. 
Οἴμοι τάλας, δείλαιος ἀποπνιγήσομαι. 
XAIPEDOQN. 
Eye δὲ κακοδαίμων γε xataxavdyoouat. 1506 
ΣΤΡΕΨΙΑΔΗΣ. 


Τί γὰρ μαϑόντες τοὺς ϑεοὺς ὑβρίζετε, 
Καὶ τῆς Σελήνης ἐσχοπεῖσϑε τὴν ἕδραν; 
δίωκε, βάλλε, παῖε, πολλῶν οὕνεχα, 
Μάλιστα δ᾽ εἰδῶως τοὺς ϑεοὺς ὡς ἡδίκουν. 
ΧΌΒΟΣ. 
Ἡγεῖσϑ᾽ ἔξω" κεχόρευται γὰρ μετρίως τό γε τή- 
μερον ἡμῖν. 1510 


Ζ 








NOTES. 
(97) 





NOTES. 


1 THE scene opens in a sleeping apartment of the city 
mansion of Strepsiades, a rustic land-owner, who had been 
induced to marry into an aristocratic Athenian family. 
The wife is a niece of Megacles, the son of Megacles; that 
is, a lady belonging to the higher circles of Athenian so- 
ciety. The promising son of this ill-starred union has, it 
seems, run into all the fashionable follies and expensive 
habits of the young equestrians with whom his mother’s 
rank has brought him into connection. His foolish old 
father begins to find himself in embarrassed circumstances ; 
and he is here represented as roused from his bed at early 
dawn by the anxiety caused by his pecuniary difficulties. 
The son is sound asleep on his couch, and slaves are snoring 
around him. ‘The statue of the equestrian Poseidon (line 83) 
stands near. The young man talks occasionally in his 
sleep, and his dreaming thoughts are evidently running 
upon the pursuits and amusements of the day. 

2, 3. τὸ χρῆμα ... . ἀπέραντον. A common pleonasm. 
Herodotus has συὸς μέγα χρῆμα, a great thing of a boar, a 
huge boar. Translate here, These nights (or, These hours 
of the night ; νύκτες has sometimes this meaning), how end: 
less they are! 

(99) 


100 ; NOTES. 


4. Καὶ μήν, And certainly, or, And yet, forsooth. See 
Kiihner, Gr. Gr., ὃ 316.—y’. The emphasizing particle. — 
maha... ἤκουσ. The aorist of the verb, with the adverb 
referring to the past, describes a single act completed at the 
time indicated by the adverb. The present tense, similarly 
constructed, indicates that the action, though commenced in 
the past, is still continued. 

5. ovx....TOv, very common for τούτου, but they would 
not have done tt before this. The particle ἄν qualifies ἐποίουν 
or some such verb to be supplied. 

6, 7. ᾿“πόλοιο .... οἰκέτας. The Peloponnesian war had 
already raged eight years. ‘The farmers of Attica had been 
compelled to exchange the country for the city, and to bring 
in their slaves with them. The dangers of their situation, 
in the midst of a slave population that outnumbered the free- 
born Athenian citizens in the ratio of nearly four to one, 
were increased by the opportunities of escape in the time of 
the war, and the masters had to relax the usual severities of 
their treatment. As it was, the slaves absconded in great 
numbers, and caused the Athenians not a little harm. 
Strepsiades is therefore naturally represented as cursing the - 
war because he cannot safely flog his slaves. See Thucyd. 
VII. 27.— δῆτ. For the force of this particle, see Kiihner, 
Gr. Gr., § 315, A. 

8. ὁ χρηστὸς οὑτοσί, ironically, this excellent youth, this 
fine fellow here. 

11. ῥέγκωμεν, let us snore. The old man throws himself 
an the bed and tries to get a nap, but without success. 

12. δακνόμενος, bitten. He compares his son’s extraya- 
gance, and the expense of the stable, and his debts, to fleas, 
whicls bite him so that he cannot get a wink of sleep. The 
word δάκνο is also used metaphorically to vex. 

14. ‘O.... ἔχων, And hawith his long hair. The cus- 
tom of wearing the hair long was prevalent among young 
men of equestrian rank at Athens, especially the fops who 





NOTES. | 101 


spent their tinie with horses. See Aristoph., Equites, 537 r 
My φθονεῖθ᾽ ἡμῖν xouwot. Upon which a Scholiast remarks : 


\ A ~ 5.4 ~ ~ A ~ ‘ 
“70 γὰρ κομᾶν ἐπὶ τοῦ τρυφᾶν λέγεται, καὶ γαυροῦσθαι, καὶ 


μέγα φρονεῖν." See Mitchell’s note upon the passage (1. 562.. 
in his edition). 

15. ‘Inmalerar.... ξυνωριχεύεται. The former refers to 
riding, the latter to driving, especially a span, συγωρίς. 

16. ᾽Ογειροπολεῖ θ᾽ ἵππους, and he dreams horses. 

17. Ὁρῶν .... εἰχάδας, seeing the moon bringing on the 
twenties. The εἰκάδες were the last ten days of the month. 
The Attic month was divided into three portions of ten 
days each, called decades, δεχάδες. Money was lent αἱ ἃ 
daily or a monthly rate of interest, usually the latter. 
Sometimes the interest was paid annually. (See Boeckh, 
Public Econ. of the Athenians, Lamb’s Tr., pp. 172-175.) 
The ordinary rate on loans was one per cent. a month. In 
cases of great risk, as commercial voyages, it sometimes 
went up as high as thirty-six per cent. per annum. Strep- 
siades sees the last part of the month approaching, when 
the interest on his debts must be provided for. In his 
anxiety, he orders his servant to light the lamp and bring 
him his memorandum-book (1. 19, γραμματεῖον), out of which 
he reads the various items of his debts. 

18. τόχοι, interest moneys. The etymology. of the word, 
and the analogy by which it is applied to the produce of 
money lent, are obvious. Aristotle, Pol. I. 10, says: “ ὁ δὲ 
τόχος αὐτὸ (i. 8. Money) ποιεῖ πλέον, ὅθεν καὶ τοὔνομα τοῦτ᾽ 
εἴληφεν." Shylock (Merchant of Venice, Act I. Se. 3) says 
of his gold, “I make it breed as fast.” 

22. Tov.... Πασίᾳ; Why twelve mine to Pasias? For 
the construction of tov, see Soph. Gr. Gr., § 194; 1. 

23. “Or .... κοππατίαν, When I bought the koppa horse. 
It was the custom to mark or brand horses of pure breed 
on the haunch, generally with the character foppa or 


san. The former was the χοππατίας, the latter σαμφύρας. 


102 NOTES. 


“ Among the domestic animals, horses in Attica bore 
relatively a high price, not only on account of their use- 
fulness, and of the difficulty of keeping them, but also on 
account of the inclination for show and expense which 
prevailed. While the knight kept for war and for pa- 
rade in the processional march at the celebration of the 
festivals, and the ambitious man of rank for the races, cele- 
brated with so much splendor, high-blooded and powerful 
steeds, there arose, particularly among the younger men, 
that extravagant passion for horses, of which Aristophanes, 
in his comedy of the Clouds, exhibits an example, and 
many other authors give an account. So that many impoy- 
erished themselves by raising horses, while others became 
rich in the same occupation. Technical principles were 
also early formed respecting the treatment of horses, which 
before the time of Xenophon were published by Simon, a 
famous horseman. A common horse, such as, for example, 
was used by the cultivator of the soil, cost three minas (75 
thlr. or $51.30). You have not dissipated your property 
by raising horses, says the person represented as the 
speaker in a speech of Iszeus, ‘for you never possessed a 
horse worth more than three minas.’ A splendid riding 
horse, on the contrary, or one used for the chariot race, was 
purchased, according to Aristophanes, for twelve minas; 
and, since that amount was lent upon the pledge of a horse 
of that kind, this may have been a very common price. A 
fanciful taste, however, enhanced the price beyond all 
bounds; thus, for example, thirteen talents were given for 
Bucephalus.” — Boeckh’s Public Heonomy of the Athenians, 
pp. 102, 103. 

The following table exhibits the values of the Attic coins 
and sums of account, deduced from carefully weighing a 
series of Athenian coins in my possession, and comparing 
them with coins in other collections. As the drachma is 
the unit to which the rest of the series bear a definite pro- 


NOTES. ; ΙΝ 


portion, we may construct the table as follows, beginning 
with the smallest copper coin: — 


1 Lepton = $0.0004 or 4 of a mill. 
7 Lepta= 1 Chalcus 0.0034 or 3,4, mills. 
8 Chalcoi = 1 Obolos 0.0277 or 2 cts. 7 τς mills. 
6 Oboloi= 1 Drachma _ 0.1666 or 16 cts. 6,5, mills. 
100 Drachmai=1Mna = 16.666 or 16 dollars 16 cents 
655, mills. 
60 Mnai=1 Talanton (Talent) = $1,000, or one thousand 
dollars.” 


For a further account of the κοππατίας and σαμφόρας, see 
Becker’s Charicles, p. 63, n. 5, English translation. For 
an account of the ancient race-horses and their names and 
marks, see Krause, Gymnastik und Agonistik der Hellenen, 
Vol. 1. pp. 594-599. 

24. Ei@’ ἐξεκόπην. Kuster, Duker, Welcker, Beck, Her- 
mann, and others, have ἐξεκόπη, referring to the koppa 
horse for the subject. The MSS. all have ἐξεχόπην. 
Some have discerned a play upon the similarity of sound 
between χοππατίας and ἐξεκόπη. It was when I bought the 
koppa horse; ah! Iwish he had had his eye koppaed out 
jist. .“Ita,” says Hermann, “ et sententia optissima est, et 
lepor manet dicacitatis. Id unum optat Strepsiades, ne ne- 
cessarium fuisset istum equum emere. Atqui si oculus ei 
antea excussus fuisset, noluisset eum emi Phidippides. Fa- 
cete igitur, optat Strepsiades, equum ipsum, qui κόμμα habe- 
bat, quo in hippotropheis genus equorum designatur, quze 
res haud parvum habet in emendis equis momentum, aliud 
ante accepisse χόμμα, quo emptores deterruisset.” 

25. Φίλων .... δρόμον. The young man, dreaming of 
the race-ground, and imagining that his rival is crowding 
upon his track, murmurs, Philon, you are not fuir, drive on 
your own course. 

28. Πόσους . . . . πολεμιστήρια (sc. ἅρματα) ; How many 


104 NOTES. 


courses will the war-chariots run? Hermann, however, ob- 
serves, —“ Ambiguum est, πολεμιστήρια sintne ἅρματα an 
ἀμιλλήματα intelligenda, sitque hoc nomen accusativo casu 
an nominativo dictum. Illud quidem non dubitandum vide- 
tur, quin aurigatio potius vel equitatio, quam currus eo nom- 
ine designetur. Quod nominativo si est positum, quxrere 
putandus est Phidippides ante cursus initium, quot gyros 
facturi sint. Verisimilius est tamen accusativum esse πολὲμι- 
στήρια." 

80. ᾿“τὰρ. . .. Πασίαν ; The old man after this interrup- 
tion returns to his accounts. The words τί χρέος ἔβα μὲ are 
quoted from a lost play of Euripides, for the purpose of bur- 
lesque. The poet seizes every opportunity of ridiculing the 
tragic style of that great poet. In Euripides (Here. Fu- 
rens, 494) we find τί καινὸν ἦλθε χρέος ; what new event has 
come? Aristophanes plays with the double meaning of 
χρέος. In this passage, What debt has come upon me ? 

Die ΘΕΙΣΗΣ ils ᾿Αμυνίᾳ. Another item in the account. 
Three mine for a little chariot and a pair of wheels ta 
Amynias. For construction, see Soph. Gr. Gr., § 194, 1. 

32. "Anaye .... οἴκαδε. The young man is still talking 
in his sleep. Jake the horse home, when you have given 
him a roll in the sand. The Greeks had places for rolling, 
called ἀλινδῆθραι or ἐξαλίστραι, sprinkled with sand, where 
a roll was allowed the horses after the race. 

33. 741 .... ἐμῶν. The old man takes up the word 
and exclaims, You have rolled me, you rogue, out of ny 
property. 

34, 35. δίκας .... φασιν. In the legal phraseology of 
Athens, δίκην ὀφλεῖν meant to be cast ina suit, to lose a 
case ; ἐνεχυράσασθαι, to take security, constructed with the 
genitive of the thing for which security is taken. 

35. ’Eteov. The son now wakes, disturbed by his father’s 
steps and exclamations. 


NOTES. 195 


80. Τί. ... ὅλην; Why are you worrying and fussing 
about all night long ? 

37. Many... . στρωμάτων, A demarch from the bed- 
clothes bites me. ‘The demarchs were officers elected by the 
Demes or boroughs of Attica, who had various duties im- 
posed upon them, such as taking care of the property be- 
longing to the temples, executing the confiscations within 
the boroughs, collecting debts due to the boroughs, and 
keeping registers of the lands. Strepsiades jokingly calls a 
flea or bed-bug a demarch from the bed-clothes, pursuing 
him, as it were, and enforcing payment by biting, and drink- 
ing his blood. For an exact description of the duties of the 
demarchs, see Schéman, Assemblies of the Athenians, p. 
303, 5666. 

42. Ei? ....xazacg. This line is a burlesque upon the 
first line of the Medea of Euripides; εἰθ᾽ ὥφελ᾽ ’Agyovs μὴ 
διαπτάσθαι σχάφος. Frequent allusions are made to the 
match-makers of Athens; besides many others, by Xeno- 
phon, Mem. II. 6, 36, where Socrates repeats an observa- 
tion of: Aspasia, that match-makers are useful to bring people 
toyether in marriage, when they make a good report truly ; 
but are of no benefit, when they praise falsely ; for those 
who have been thus deceived hate each other and the match- 
maker. See also Becker’s Charicles, p. 351, and the au- 
thorities there cited. Plato, Theztet. 149, describes them 
as being all-knowing upon the subject of marriages, and 
upon the adaptation of the various temperaments to each 
other. 

In the following lines, old Strepsiades gives a humorous 
description of his condition before he was encouraged, in an 
evil hour, to aspire to the hand of a lady belonging to 
the high and mighty house οἵ Magacles; he sketches the 
character of his wife, and points out the comical contragt 
between her and himself. He was leading a mighty pleas- 
ant life, dirty, unswept, and careless, with plenty of bees, 


106 NOTES. 


and sheep, and olives; when, in a fit of ambition, and by 
the agency of the match-maker, he married a great city 
lady, whose family had been so reduced by the policy of 
Pericles as to make even such a marriage desirable to the 
falling house. 

46. Μεγακλέους. The repetition of the name, Megacles, 
the son of Megacles, is a burlesque upon the pompous way 
in which the great families of Athens betrayed their sense 
of their own importance. ‘The family here alluded to was 
one of the proudest and most aristocratical in Athens. The 
first Megacles was said to be the son of Coesyra, a woman 
of distinguished rank and wealth, from Eretria. She was 
noted among her towns-people for her pride and luxury, 
and the Eretrians coined a word from her name, Kovovgo- 
onc, to play the Cesyra, that is, to be haughty and wanton, 
to be Cesyrafied. Pericles and Alcibiades belonged to the 
great Megacleid family. 

With regard to the use of the name Megacles, Hermann 
says, with good judgment, — “ Quoniam nobili nomine opus 
erat, usitatum in splendidissima gente Alemzonidarum no- 
men Megaclis, idque ipso significatu homini nobili congru- 
um, usurpavit poeta. Kum hominem si vocavit Megaclem 
Megaclis filium, fecit id eo ipso consilio, ut non certus qui- 
dam ex Alcmeonidis, sed aliquis, quicumque, summo loco 
natus intelligeretur.” 

48. ἐγκεχοισυρωμένην, from κοισυρόομαι (see above), Ce- 
syrafied. 

52. Κωλιάδος, Γενετυλλίδος. Two names of Aphrodite, 
one from the name of a promontory near Phalerum, on 
which the Persian ships were driven, after the battle of 
Salamis, and where was a temple in honor of this goddess, 
some remains of which still mark the spot; the other an 
epithet significant of her office, like that of the Venus Geni- 
trix at Rome. 

53-55. Ov.... σπαθᾷς. The occupation of weaving 


NOTES. 107 


or embroidery was one considered not unworthy of women 
belonging to the highest rank in Greece, from Homer’s 
Penelope down. But the word σπαθάω, which describes the 
occupation, is also used metaphorically by the best Greek 
writers in the sense of to scatter prodigally, to waste. This- 
double meaning gives Strepsiades an opportunity to pun 
upon the word. The English language does not afford the 
means of exactly rendering it. Something like it may be 
found in several colloquialisms; i. e. 


I will not call her lazy; no, she spun ; 

And I would hold this ragged cloak before her, 
By way of hint, and say, O wife, you spin 
Too much — street yarn! 


57. τὸν... λύχνον, the drinking lamp, the lamp that 
drinks or consumes a great deal of oil. 

58. devo’... . κλάῃς, Come here and be flogged ; literally, 
Come hither that you may weep. This use of the word 
κλαίω, Attic χλάω, in the sense of to be beaten, is an idiom 
very often occurring, and scarcely needs illustration. δῆτα. 
For the general force of the particle, see Kiihner, Gr. Gr., 
3 315, 8. Here it is emphatic, and expresses, as it were, a 
remonstrance on the part of the speaker. For a particular 
analysis of its force in interrogative forms, see Hartung, 
Vol. L., pp. 306-308, 3. . 

59. “Om... . θρυαλλίδων, Because you put in one of the 
thick wicks. For the construction of the genitive, see Matt. 
Gr. Gr., § 323, b., English translation; Soph. Gr. Gr., 
§ 191. | : 

61. "Euoi....tayaby. Observe the comic force of the 
particle, and the ironical application of the epithet to the 
wife, — To me, that ts to say, and this good wife of mine. 
For the particle 67, see Kiihner, Gr. Gr., § 315. 

62.67. The particle here signifies forsooth. 

63. Ἡ...-. τοὔνομα. To understand this, it must be re- 
membered that the termination ἱππος in a name was an indi- 


108 NOTES. 


cation of equestrian rank, like de before a French name, or 
von before a German ; — She was for putting hippos to his 
name, Xanthippos, Charippos, or Callippides. Observe the 
force of the imperfect tense. 

65. ᾿Εγὼ .... Φειδωνίδην, But I wanted to call him after 
his grandfather, Phidonides. The name (Φείδων is formed 
from φείδομαι, to spare. Observe again the force of the im- 
perfect tense. It was the general custom among the Athe- 
nians to name the first son after his grandfather, though that 
was not uniformly the case. Here Strepsiades wished to fol- 
low the good old Athenian fashion. The naming of a son 
was the father’s business; but the mother of the promising 
young gentleman assumes, on account of her superior birth, 
it may be supposed, to give him a name in accordance with 
her own notions of gentility. 

66, 67. Téwg.... Φειδιππίδην, For a time we kept up 
the dispute ; but at last we came to a compromise, and called 
him Phidippides. They made up a name, half patrician 
and half plebeian, retaining the old grandfather’s frugal ap- 
pellation, and attaching to it an aristocratical termination. 
All the parts of the name thus compounded are significant, 
and the whole implies a person disposed to economize in. 
horse-flesh, — just the opposite of the real character of him 
who bore it. In this contrast we may suppose the audi- 
ence found a part of the wit of the present scene. An ex- 
ample of similar humor occurs in one of the Princess 
Amelia’s German plays (Der Oheim, The Uncle), where 
Dr. Loéwe’s nephew, the young baron, has ennobled the 
family name Lowe (Lion), by adding to it the chivalrous 
ending Berg, mountain, thus forming the high-sounding 
name Lowenberg. 

69. “Otay .... πόλιν, When you are grown up, and drive 
your chariot to the city, that is, to the Acropolis, in the pub- 
lic processions. 

70. ξυστίδ᾽ ἔχων, with a axystis, that is, a long state-robe, 


NOTES. 109 


worn only on festal occasions. According to Battiger, it 
was an embroidered purple coat. See Becker’s Charicles, 
p- 822, English translation. 

71. Weddéwc. Phelleus was the name of a hard and 
rocky region between Athens and Marathon, used chiefly 
for pasturage. See Lockhart’s Athens and Attica, p. 12. 
᾿ Plato, Critias, III. C., speaks of τὰ Φελλέως πεδία. 

73. “Al .... λόγοις. Some refer the verb ἐπείθετο to 
the boy. But the construction and sense are better, if we 
consider it in connection with the wife ;— But she used to 
pay no heed at all to my words. 

74. ᾿4λλ᾽ .... χρημάτων, But she poured a horse passion 
over my property; that is, she squandered my money by 
cultivating in him a love of horses. The old man consoles 
himself by the reflection, that he has found a capital way of 
mending his affairs, if he can but persuade the young man 
to adopt it. Of this he entertains some doubts, and accord- 
ingly proceeds with no little anxiety to wake him in the 
gentlest manner, calling to him with various endearments, 
and by tender diminutive names. 

76. δαιμονίως, here equivalent to deucedly. The word is 
used sometimes in a good, sometimes in a bad sense. 

80. Φειδιππίδιον. The diminutive of fondness used by 
old Strepsiades can best be given thus, — Phidippidy ! 

83. Νὴ .... ἵππιον, Yes, by this equestrian Poseidon, 
pointing to a statue of the god standing near his bed. 

84. Μή μοί ye... . ἵππιον (sc. εἴπῃς), Don’t mention this 
equestrian to me. 

88. “Exotgewor .... τρόπους. The verb means literally, 
to turn inside out, like old clothes; that is, J/ake an entire 
change in your manners as quickly as possible. 

92. Ορᾷς .. .. t@xidiur; Do you see that little door, and 
_ the small house? “The humble dwelling of Socrates is 
made to contrast as strongly as possible with the more mag- 
nificent mansion of Strepsiades. It is entered by a flight of 

10 


110 NOTES. 


steps downward, in order to convey to the spectators the 
idea of an underground cell or cave. Before it, instead of 
the Apollo Agyieus, we shall perhaps feel justified in plac- 
ing a little top-fashioned image of earthen ware, meant to 
represent the new cosmological god of the Socratic School, 
Dinus.” Mitchell. δῖνος, Vortex. 

Voss remarks, — “Socrates had a small house, which, 
together with the furniture, he valued at five mine. The 
koppa horse (1. 23) had cost twelve minz. In a similar 
small house the Socrates of the comedy keeps school; the 
real Socrates was not at home through the day, but was 
strolling about among the gymnasia, and wherever else he 
met with the greatest number of persons.” 

93. ἐτεόν. A word here expressing impatience, what in 
the world? zee 

94. ἱΨψυχῶν .... φροντιστήριον. The philosophers and 
sophists had introduced a set of cant words and affected ex- 
pressions, which exposed them justly to the poet’s satire. 
The verb φροντίζω, to ponder deeply, was one of these, and 
seems to have been used with infinite repetition, as we may 
judge by the works of Plato and Xenophon, to express the 
state of profound philosophical meditation. Mitchell quotes 
a passage from Plato’s Symposium, relating an amusing 
anecdote of the abstraction of Socrates in his campaign at 
the siege of Potidea, which took place about two years 
before the representation of the Clouds. The philosopher 
fell into a reverie, one morning, which lasted longer than 
was quite consistent with military disciplive. “ And it was 
now mid-day, and the men perceived it, and, wondering, 
said to each other that Socrates had been standing from 
early morning, meditating something (φροντίζων τι). And 
at last some of the Ionians, when evening came on, took 
their supper, and, as it was summer time, brought out their. 
camp-beds, and Jay down in the cool air, and at the same 
time watched to see if Socrates would keep standing through 


NOTES. 111 


the night. And he stood until the morning came and the 
sun rose; and then, having offered prayers to the sun, went 
_ away.” 

The word φροντιστήριον is an invention of the comic poets, 
and formed after the analogy of βουλευτήριον. Kock calls it 
Speculatorium. It means the place where philosophical 
meditation is done, the meditation-shop, the thinking-hall. 
The word may be written in English phrontistery, like bap- 
tistery and other like terms. ‘The whole line may be ren- 
dered, This is the thinking-shop, or phrontistery, of wise 
souls. | 

96. πνιγεύς, an extinguisher. This was a hollow cover 
of hemispherical shape, placed over the brazier or coal-pot 
(ἀνθράκιον), in which the charcoal fire was made* For a 
general account of the mode of warming ancient houses, see 
Becker’s Charicles, p. 214; Gallus, pp. 210, 211. 

98. aoytourv.... διδῷ, tf one will but pay them for τί. 
It was notorious that the sophists exacted enormous pay for 
their pernicious instructions, and that many of them accu- 
mulated large fortunes. But the charge as applied to Soc- 
rates was false ; he never received any compensation what- 
ever from his disciples. ‘ 

99. “έγοντα νικᾷν, To conquer in speaking; to gain the 
argument. Instrumental use of the participle, see Kiihner 
Gr. Gr., § 310. 4. 9. 


100. Οὐκ. ... τοὔνομα, I don’t exactly know the name 
Strepsiades is afraid to come out with it at once, lest the 
young man should plumply refuse to have any thing to do 
with them. In the next line, the poet plays off some of the 
favorite terms of the philosophers. Περιμνοφροντισταί is a 
comic word, meaning speculative ponderers, or philosophers 
in a brown study ; and χαλοί te κἀγαθοί is a favorite expres- 
sion of Xenophon and Plato; καλοκἀγαθία described the 
character of a well-educated, high-bred Athenian gentleman. 


11% NOTES. 


Such it was the profession of the sophists to make their dis- 
ciples. 

102. AiBot....oida.  Phidippides starts at the men- 

tion of them, Bah! the rogues, I know. In the next sen- 
tence he refers to some of their fantastic habits, their — 
whimsical austerities, their philosophic paleness, and their 
affectation of going barefoot; they being too intent upon 
intellectual matters to give any heed to these things. With 
Socrates, however, these habits, though odd, .were not 
affected. 

104. κακοδαίμων. This epithet of Socrates may be fas- 
tened upon him in satirical allusion to his demon, or the — 
guiding spirit to which he gave that name, and which he 
declared, warned him of the nature of the actions he was 
about to perform. 

106. adgitwr. The rustic ideas of Strepsiades show 
themselves in the selection of his phraseology. Flour or 
grain naturally occurs to him as the representative of prop- 
erty in general. 

107. Τούτων, the partitive genitive, Of these, i. 6. one of 
these. — σχασάμενος, separating yourself from, = in the 
cant of the day, cunt, : 

109. φασιανούς. Some explain this word as meaning 
horses, from the Phasis; others, as pheasants ; the latter 
‘probably is correct. The word may also allude punningly 
to sycophants, from φαίνω. Leogoras was a gourmand, fre- 
quently ridiculed for his love of good eating. 

110. φιλτατ᾽ ἀνθρώπων. An expression of special fond- 
ness; dearest of human beings, my dearest fellow. 

112-115. Fives... . τἀδικώτερα. The poet here alludes 
to some of the mischievous opinions taught by the sophists, 
and especially to the art professed by some of them, of 
“making the worse appear the better reason”; of defending 
any side of any question or cause by the subtilties of 


NOTES. ι 119 


sophisticeal logic; of confounding right and wrong by plausi 
ble and puzzling arguments to prove the uncertainty of all 
moral distinctions, and by vague generalities, difficult to be 
denied, and having their counterpart in the extravagances 
taught by some of the Cloud-philosophers of the present 
day. Strepsiades is anxious that his son should go to the 
phrontistery and acquire this art, so as to help him to get rid 
of his debts (116-118). 


If, then, you ’ll go and learn this cheating logic, 
Of all the debts I owe on your account 
I’ll never pay to any man a farthing. 


119,120. Οὐκ. ..-. διακεχναισμένος, I could not comply, 
for I should not dare to look upon the knights with my 
color rubbed away. Phidippides refuses, because he would 
be ashamed to look his genteel friends in the face, with his 
complexion spoilt by reducing it to the philosophic color. 
For the use of the optative πιθοίμην, see Kiihner, Gr. Gr., 
§ 260, ὃ (4). 

121. Ovzx.... ἔδει, Well, then, by Demeter, you shall not 
eat of mine; ἔδει, from ἔδω, fut. ἔδομαι, 2 pers. ἔδει. See 
Soph. Gr. Gr., § 133. 

122. ζύγιος, yoke-horse. The ζύγιοι were the two middle 
horses in a team of four abreast, so called from their being 
placed under the yoke, ζυγός. . 

123. ᾿4λλ .. -- οἰχιας, literally, J will drive you out of 
my house to the crows. A proverbial expression, often used 
in angry imprecations, as (1. 133) δάλλ᾽ ἐς xogaxac, Go to 
the crows, just like the English, Go to the devil. 

124, 125. “AV .... φροντιῶ, But my uncle Megacles 
will not let me go without a horse. I'll go in and won't 
trouble my head any more for you. The young .nan’s 
thoughts are running upon his horses and the equestrian 
dignity of his mother’s family. He is tired of standing anil 

A δας. ἢ 


114 | NOTES. 


hearing his father talk, and determines to go to bed again. 
The poet makes him use φροντιῶ in allusion to the jargon 
of the philosophers. He rings every possible change upon 
the word. The tense is the Attic future for φροντίσω. 

126. ?421?.... κείσομαι, But though I’m thrown, I will 
not lie here. A metaphor drawn from the wrestlers. He 
has been defeated in his plan for his son, but does not mean 
to despair. As the youth will not become a Phrontist, he 
will try it himself. The poet makes him, satirically enough, 
pray to the gods for success, before attempting to —- this 
“new way to pay old debts.” 

130. σχινψδαλάμους, literally, slivers of wood ; used meta- 
phorically for subileties of logie and phere quips and 
quirks. 

131. ’Jzyjréor, lengthened form of tréor, J must go. The 
lenethening of the word gives it a sort of slang turn, = 7 
must go it. After some hesitation the old man is resolved 
to make the trial, and expresses his resolution by this 
word. — Τί ταῦτ᾽ ἔχων στραγγεύομαι, Why thus, or Why 
then do I loiter? ταῦτ᾽ ἔχων in this sense is an Attic idiom, 
of which many examples occur, several hereafter in this 
play. The old man at length departs, and, knocking at the 
door ox the phrontistery, disturbs the musings of the disci- 
ples; one of whom, in a fit of very unphilosophical wrath, 
tells him (1. 133) to ¢o to the crows, and then asks his 
name; to which Strepsiades replies, with suitable circum- 
stantiality (1. 1384), Phidon’s son, Strepsiades, the Cicyn- 
nian. 

135-187. ᾿“Ἱμαθής .... ἐξευρημένην, You are a clown, by 
Zeus, who have thus thoughtlessly kicked against the door, 
and made a profound conception that I had just traced out 
miscarry. ᾿“μαθής, literally, ignorant, unlearned. ᾿“΄περι- 
μεριμνῶς, without deep cogitation, like a boor, and not like a 
philosopher. 


“NOTES. 115 


138, rylov.... ἀγρῶν, for I live afar in the country. 
Strepsiades is burlesquing a verse of Euripides. For the 
construction, see Matthiz, 8 340; Soph. Gr. Gr., § 196. 

139. τὸ πρᾶγμα τοὐξημβλωμένον, the thing that has been 
made to miscarry. ‘The language here and in the preceding 
speech of the disciple is a humorous burlesque of the So- 
cratic idea of the mazeutic art, and of the intellectual mid- 
wife, which the philosopher, himself the son of a woman 
who practised obstetrics, pronounced himself to be; and the 
school is held up,.through most of these scenes, as a place 
of initiation into profound and mysterious knowledge, con- 
cealed from all but the disciples. 

141. éym.... οὗτοσί. The force of the demonstrative 
pronoun is adverbial; for J, here, or £ your man here. 

143. Λιομίσαι .... μυστήρια, But these things are to be 
regarded as mysteries. ‘The ridicule here is directed 
against the secrets and mysteries that belonged to the inte- 
rior of the philosophic schools. . 

144-147. *Avijoe? .... ἀφήλατος The Gherephon here 
spoken of was one of the warmest friends and most distin- 
guished disciples of Socrates. He is often mentioned by 
Xenophon and Plato. He injured his health by intense 
study, and the sallowness of his complexion gave Aristopha- 
nes occasion for several jokes at his expense. He was one 
of the exiles who returned to Athens on the downfall of the 
Thirty Tyrants. ‘The philosophical, or rather geometrical, 
experiment here described contains an allusion to the thick, 
bushy eyebrows of Cherephon, and the bald head of Sac- 
rates. It might be repeated any day by the philosophers 
of modern Athens. 

148. Δεξιώτατα, Most dexterously. 

151. Περσικαί, Persian sandals ; handsome, red sandals, 
like the Turkish slippers of the present times. 

152. ἀνεμέτρει, he set about measuring off. Note the 
force of the imperfect tense. — τὸ χωρίον, the distance. 


116 NOTES. 


153. ’Q.... φρενῶν, O Zeus, what subilety of the intel- 
lects! For the construction of the centline, see Matt. Gr. . 
Gr., § 871; Soph. Gr. Gr., § 194, 2 | 

154-155. Ti... . φρόντισμα; What would you say, eh, 
af you should hear another deep thing of Socrates? — ἄν. 
This particle qualifies some verb to be supplied. For its 
use in interrogative sentences, see Kiihner, Gr. Gr., § 260, 
3, Gs 

157. 'Οπότερα .... ἔχοι. The question is stated in a 
very solemn and philosophical manner, Whether he held the 
opinion, or Whether he maintained the doctrine. 

159. ἐμπίδος, the gnat, midge, the same as the xwvaw; © 
the insect still abounds in Athens. ‘The name is repeated 
several times in the course of the discussion, for the pur- 
pose of heightening the ridicule. 

166. "Q2.... διεντερεύματος, O thrice blessed for the in- 
ward vision! that is, intuition of the inside of the gnat. 
The word is comic, says Passow, as if one should say 
Darmsichtigkeit for Scharfsichtigheit, innersight instead 
of insight. 

167, 168. "H.... ἐμπίδος, Surely, a man who sees 
through a gnat’s inside might easily get acquitted in a sutt 
at law. In the legal language of Athens, ὁ φεύγων was the 
defendant ; ἀποφεύγειν meant to be acquitted, to escape the 
penalty. 

169. γνώμην μεγάλην, a great philosophical idea. 

176. w.... ἐπαλαμήσατο; and what did he contrive for 
the bread? 

177-179. Κατὰ... ὑφείλετο. These three lines have 
caused much difficulty among the commentators. The allu- 
sion in the first line is to the geometricians, whe covered a 
table with fine sand, and on this drew their figures; in the 
second, the philosopher is represented as taking up a small 
spit, and then handling a pair of compasses; and in the 
third, the scene suddenly changes, and the disciple makes 


NOTES. 117 


kim whip away a cloak from the palestra. It is well 
known that the palestras were a favorite resort of Socra- 
tes. There, while the young men were practising their 
exercises, the outside garments were laid aside, and; of 
course, might easily be stolen. Perhaps the poet is merely 
ridiculing the philosopher, by making his disciple begin as 
if he had a great scientific problem of his master’s to de- 
scribe, and break off suddenly by attributing to him the 
petty trick of stealing a cloak from the palestra. Tho 
rustic would understand but little about the geometry; but 
if the science enabled him to do such tricks, it must be 
something worth learning, and very much to his purpose, 
as he wanted to cheat his creditors. But the loss of the 
supper seems to be forgotten. The disciple, perhaps, did 
not mean to answer the querist’s question in any other way. 
Bothe says, —“ Prestigiatorum artibus usum fingit person- 
atum istum Socratem; nam quemadmodum prestigiatores 
aliud agunt, aliud agere videntur, sepeque mira celeritate 
nihil suspicantibus aliquid vel auferre, vel inserere in sinum 
solent; sic ille in palestr4, postquam cinere conspersit 
abacum, tanquam figuras geometricas descripturus,, velut 
mutato consilio, veru alicubi arreptum incurvavit, tum rur- 
sus propositum se tenere fingens circinum in manus sump- 
sit, mirantibusque spectatoribus, quid sibi vellet, et de his 
rebus, presertim insuetis eo loco, inter se colloquentibus, 
dum minus observatur, pallium aliquod, quo ei opus erat, 
ὗ. e. non adeo vile ac tritum, ut nullo pretio futurum esset 
(θοἰμάτιον, non ἱμάτιον) veru impacto, tanquam uncino, ex 
ipsi palestra, loco frequentissimo, furatus est, eoque post 
vendito ccenavit.” According to this note, he stole the 
cloak, and sold it for a supper. Mitchell says, —“The 
three verses preceding appear upon the whole to be little 
more than a piece of mere persiflage (and so thinks Wie- 
land), in which we are not to look for any very connected 
sense. The scholar, who has hitherto been on the high 


118 NOTES. 


ropes about his master, seeing by this time whom he has te 
deal with, plays off a little wit upon his rustic hearer. 
This narrative accordingly commences as if Socrates were 
about to draw upon his abacus or table (previously strewed 
with dust) some geometrical figures. Instead of a pair of 
compasses, however, the philosopher takes a small spit, 
which he works into something like a pair of compasses ; 
but, instead of drawing a diagram with this instrument, the 
scholar’s narrative suddenly shifts his master into the pales- 
tra, where he is described as filching a@ cloak, the scholar at 
the same time exemplifying the act by affecting to twitch 
the cloak from his auditor. Strepsiades, who has been fol- 
lowing the speaker open-mouthed, expecting some almost 
magical proceeding on the part of Socrates to procure his ~ 
scholars a supper, and looking hum! hah! indeed! pro- 
digious ! sees nothing of the fallacy practised upon his 
understanding, but breaks out into a strain of admiration at 
the dexterity of Socrates, ‘And to think of Thales after 
this !’” 

Perhaps it is nothing but a joking way of telling how 
Socrates cajoled them out of their supper, by fixing their 
attention upon the figures he was drawing upon the table. 
“ Having spread fine dust over the table, he bent a little 
spit, and took a pair of compasses, and whipped the 
cloak away from the palestra.” Whipping the cloak from 
the palestra may have been, from the circumstances before 
mentioned, a humorous and proverbial expression for slily 
cheating one of any thing. <A law prescribing the penalty 
for “stealing a garment from the Lyceum, or the Academy, 
or the Cynosarges,” &c., is cited by Demosthenes, Contra 
Timocratem, 736. 

Kock adopts another reading, first proposed by Hermann, 
θυμάτιον instead of θοιμάτιον. Offerings were left in the pa- 
lestra to Hermes; and the trick charged upon Socrates, 
according to this reading, is that he filched away a bit of 





NOTES. 119 


meat from the palestra, while the attention of the specta- 
tors was occupied with a pretended geometrical demonstra- 
tion. 

180. ἐκεῖνον .... θαυμάζομεν; that Thales, that is, the 
great Thales, the famous philosopher, whose name was 
world-famous. The impatience of Strepsiades to be admit- 
ted at once into the school is too great to be restrained. 

183. αθητιῶ γάρ, For I long to be a disciple, or rather, 
as the desiderative verb has something of comic force, Z’m 
itching to be a disciple. 

The door is open, and Strepsiades looks in. “ Every 
ludicrous situation,” says Mitchell, “and attitude, in which 
a number of young persons could be presented as pursuing 
their studies, is here to be imagined. This pupil has his 
head, as it were, in the heavens; he is contemplating divine 
entities, and seeing how far Socratic ¢deas correspond with 
Pythagorean numbers. That has his head buried in the 
earth, his heels being uppermost ; doubtless he is searching 
for fossil remains. A third party content themselves with 
tracing various diagrams on their abacz, or philosophic 
tables. All are deadly pale, without shoes, having the hair 
long and matted, and, instead of the flowing Aimation, wear- 
ing the short philosophic tr¢bon. Various articles of sci- 
ence, globes, charts, maps, compasses, é&c., are strewed 
about. In the centre of the room, and evidently set apart 
for some unusual purpose, stands a small litter or portable 
couch. The scene is completed by two female figures. 
The one bears a sphere in her hand; by way of belt, she 
has part of the zodiac round her waist, and her robe-maker 
has evidently been instructed not to be sparing of suns, 
moons, and stars in her drapery. As this figure was meant 
to represent Astronomy, so that, with her compasses in her 
hand, her robe plentifully figured with diagrams, and the 
mystic nilometer on her head, is evidently intended for 
Geometry.” 


190 NOTES. 


184. ravti.... θηρία ; what part of the world do these 
animals come from? or, what sort of creatures are these ? 

180. Τοῖς . . . . “ακωνικοῖς, The captives taken from 
Pylos, the Lacedemonians I mean. The event alluded to 
in this line was one of the most singular in the Peloponne- 
sian war. The siege of Pylos, which was garrisoned partly 
by Spartan soldiers, had lasted a long time, and the Athe- 
nians were beginning to be discontented with Nicias, the 
first of the ten generals. Cleon, the most notorious dema- 
gogue of the day, seized this occasion to inflame the popular 
discontent. “He pointed at Nicias, the son of Niceratus, 
the general,” says Thucydides, “being his enemy, and 
inclined to censure him, declaring that,it would be easy 
enough, if the generals were men, to sail with an armament 
and capture the forces on the island, and that he himself 
would do it, if he had the command.” Very unexpectedly, 
he was taken at his word; Nicias offered to resign, and then 
Cleon tried to withdraw. “But the more he declined the 
voyage, and tried. to escape from his own words,” remarks 
Thucydides, “the more they, as is customary with a mob, 
insisted upon Nicias resigning the command, and were 
-clamorous for Cleon to sail.” So he was finally compelled 
to submit to the honor which the sovereign people thrust 
upon him in jest. Putting a bold face upon the matter, he 
said he was not afraid of the Lacedzmonians; but with the 
Lemnians and Imbrians who were present, in addition to the 
soldiers then at Pylos, he would, within twenty days, either 
bring to Athens the Lacedzmonians alive, or kill them 
there. This boast was received by the multitude with 
shouts of laughter; but, by an extraordinary series of acci- 
dents, he was enabled to fulfil his promise, and within 
twenty days brought the soldiers of the garrison, among 
whom were about a hundred and ‘twenty Spartans, prison- 
ers to Athens. See Thucydides, IV. c. 27-40, where 
there is a most able narrative of these events. . Their date’ 
is B. 6. 425. 





NOTES. 121 


A scholiast remarks, with great simplicity, —“It was 
natural that these men, on account of the fear of captivity, 
and on account of their having been besieged already many 
days (seventy-two, according to Thucydides) in a desert 
island, where they could get no supplies, and, by reason of 
their having been imprisoned in stocks a long time after the 
capture, should have become pale, and thin, and filthy.” 

192. Ovto.... Τάρταρον, These are prying into dark- 
ness under Tartarus. ἐρεβοδιφάω, from ἔρεβος, and διφάω, 
to search. 

195. 241v .. .. ἐπιτύχῃ, But go in (speaking to the 
scholars who had come out to see the new disciple), lest HH 
fall in with you here. The pronoun ἐκεῖνος, he, and in 
other places αὐτός, is used by way of eminence, being al- 
ways understood, when spoken by disciples or followers of 
a sect, to refer to the master. The Pythagorean αὐτὸς ἔφα, 
ipse dixit, he said, that is, Pythagoras said, is well known. 

197. mw... . ἐμόν, a little matter of my own. πραγμάτιον, 
diminutive of πρᾶγμα. 

200. IIpog.... μοι, In the name of the gods, what are 
these things? tell me. He points to the images of Astron- 
omy and Geometry. 

202. Todt .... χρήσιμον ; What is this good for? The 
answer reminds Strepsiades at once of the colonial lands of 


_ the Athenians, which played as conspicuous a part in Attic 


politics as the “public lands ” do in our own. The following 
is an outline of Boeckh’s remarks upon this subject. — It 
was held to be a right of conquest to divide the lands of 
conquered tribes or nations among the conquerors. ‘The 
distribution of the land was employed as a caution against, 
and a penalty for, revolt; and the Athenians perceived that 
there was no cheaper or better method of maintaining the 


_ supremacy, as Machiavelli has most justly remarked, than 


the establishment of colonies, which would be compelled to 
exert themselves for their own interest to retain’ possession 


11 


P22 NOTES. 


of the conquered countries; but in this calculation they 
were so blinded by passion and avarice as to fail to perceive 
that their measures excited a lasting hatred against the op- 
pressors, from the consequence of which oversight Athens 
severely suffered..... Are we to call it disinterestedness, 
when one state endows its poor citizens at the cost of 
another? Now it was of this class of persons that the set- 
tlers were chiefly composed, and the state provided them 
with arms, and defrayed the expenses of their journey. It 
is nevertheless true that the lands were distributed by lot 
among a fixed number of citizens; the principle of division 
doubtless was, that all who wished to partake in the adven- 
ture applied voluntarily, and it was then determined by lot | 
who should and who should not receive a share. If any 
wealthy person wished to 20 out as a fellow-speculator, full 
liberty must necessarily have been granted to him. The 
profitableness of the concern forbids us to imagine that all 
the citizens cast lots, and that those upon whom the chance 
tell were compelled to become Cleruchi. The distribution 
# lands was of most frequent occurrence after the adminis- 
mation of Pericles. Pericles himself, and his successors, 
Alcibiades, Cleon, and other statesmen, employed it as a 
means of appeasing the needy citizens; and the fondness | 
of the common Athenians for this measure may be seen _ 
from the example of Strepsiades in the Clouds of Aris- 
tophanes,.who, on the mention of the word Geometry, is 
instantly reminded of measuring out the lands of the Cleru- 
chi. See Boeckh, Public Economy of the Athenians, Lamb’s 
translation, p. 546-556. 

204, 205. ᾿“΄στεῖον .... χρήσιμον, Τ᾽ 5 a capital thing 
you mention, for the contrivance is both republican and 
useful. 

207. θῆναι. The disciple shows him a map, and points 
out Athens on it. The old man, however, humorously says 
it cannot be Athens, for there are no judges to be seen 


NOTES. 13 


there. The number of citizens occupied in the courts of 
Athens as judges might sometimes amount to six thousand, 
about a fourth part, as Wieland remarks, of the whole free 
population of Athens. 

209. «Ὡς... χωρίον, In very truth, this is the Attic. 
land. 

211, 212. ‘H.... navv, This is Hubea, as you see, 
stretching along here very far. He points out the island of 
Eubcea stretching along the coast of Attica. 

213. Oi0 .... Περικλέους, Yes, I know, tt was stretched 
by us and Pericles. A joking allusion to the heavy tributes 
exacted of the Eubcans by the Athenians, after the Chai- 
cidians and Eretrians had been besieged by Pericles. 

215, 216. ‘Qg.... πάνυ, How near us? Use all your 
philosophy (πάνυ φροντίζετε, ponder deeply; the poet 15 
again laughing at the philosophic cant) to remove wt very, 
very far from us. Strepsiades affects to be frightened by 
the proximity of Sparta to Athens, as seen on the map. 
The history of the Peloponnesian war, which had already 
caused the Athenians so much distress, will explain the 
old man’s alarm. 

217. Οἰμώξεσθ᾽ ἄρα, You'll groan, then, that is, so much 
the worse for you, if you can’t put it further off. 

218, 219. és... .Ὦ Σώχρατες. Strepsiades now ob- 
serves a man suspended aloft in a basket. This is accom- 
plished by means of stage machinery. In great surprise 
he asks, Who ts that man up there in the basket? The dis- 
ciple answers, in Pythagorean fashion, αὐτός, He. What 
he? says Strepsiades; and when he is told it is Socrates, he 
exclaims, with an expression of surprise, calling to the phi- 
losopher, and standing with admiring look fixed upon him, 
O Socrates ! 

220. "J .... μέγα. This is addressed to the disciple, — 
Come, you, speak up to him for me, loud. But the disciple, 
his master being present, is too busy to do any such thing. 


124 NOTES. 


Whereupon Strepsiades ventures to call him himself, and, in 
a coaxing style, rendered ludicrous by the diminutive of the 
philosopher’s name, shouts out, Ὦ Σώκρατες, Ὦ Σωχρατίδιον, 
Socrates, Socratidy ! The reply of the philosopher, from 
_ his elevated position, is such as becomes his dignity, — Why 
callest thou me, O creature of a day? 

225. ᾿Αεροβατῶ .. . . ἥλιον. Another sublime speech of 
the philosopher, and designed by the poet to ridicule a cer- 
tain class of physical inquiries among the sophists, — 


I mount the air and overlook the sun. 


226, 227. "Emew’....etneg. For the elliptical use of 
εἴπερ, see Matt. Gr. Gr., § 117, f. Strepsiades touches upon 
the atheism which was charged upon the sophists, and, play- 
ing upon the words, substitutes ὑπερφρονεῖς, you despise, con- 
temn, for the verb περιφρονῶ, to examine, to overlook. But, 
on account of the double meaning of overlook, the point may 
be preserved in English without changing the word : — 

Dost thou, then, from the basket overlook 
The gods, and not from earth, if —— 

227-230. Οὐ.... ἀέρα. Socrates goes on to give the 
reason why he has got up into the basket to speculate. The 
whole passage is a ludicrous embodying in visible represen- 
tation of the philosophic mode of procedure in inquiries inte 
matter above the earth, μετέωρα πράγματα, such as the sun, 
moon, stars, meteors, clouds, and the like. ‘The speech 
ends with an amusing turn, in which the poet laughs at the 
Socratic method of drawing illustrations of moral or phi- 
losophie truths from objects cf every-day life.  Siivern 
(Uber Aristophanes Wolken, pp. 8,9,) justly remarks, — 
“ Socrates, as delineated by Xenophon, was notoriously 50 
far removed from the investigations into the μετέωρα, i. 6. 
the universe, the heavenly bodies and the atmospherical 
phenomena which occupy the master of the ponderers, that 
he consilered it a piece of insanity to surrender one’s self, 


NOTES. 125 


like Anaxagoras, to their contemplation, because it was im- 
possible to penetrate to their actual foundation and relations. 
This belonged originally to the physical school, then, also, 
to the Eleatics, but was not foreign to the sophists, and 
among them Prodicus especially is designated as a meteor- _ 
ologist by Aristophanes in the Clouds and in the Birds. 
Aristophanes, therefere, has transferred this, not from those 
two schools only, but from the philosophers generally of that 
time, to his thinking-house, called the φροντιστήριον, as an 
establishment for such subtilties; and with such expressions 
as μεριμνοφροντισταί, --- Which Xenophon resolves into pepe- 
μνῶντα and φροντιστῆν, — μετεωροσοφισταί, METEWOOGEVEXEC, 
ἀδολέσχαι, which he uses of the master and disciples, desig- 
nates the philosophy generally, partly in reference to the 
subject on which they busied themselves, partly in reference 
to the mode of speculating and discoursing upon it.” 

230. τὸν ὅμοιον ἀέρα, its kindred air. A reference to the 
opinion of the Ionic philosophers upon the cognate nature of 
the soul and air. 

232. ov yao ἀλλ. An Attic idiom, properly elliptical, for 
οὐ γὰρ μόνον τοῦτο ἀλλά, &e., for not only so, but. The 
idiom, however, may be rendered, for, moreover. 

233. ἰκμάδα τῆς φροντίδος, moisture of thought. - “That 
Socrates was versed in the writings of Heraclitus is well 
known ; and to some opinions of that school, as, that a dry 
soul is best, that the death of intelligent souls arises from 
moisture, &c., reference is here probably made.” Mitchell. 

236. “A.... κάρδαμα; Strepsiades is utterly confounded 
by this philosophical rigmarole. “ What!” says he, “ do 
you say that the thought draws the moisture into the water- 
cresses 2?” 

237, 238. Ἴθι... ἐλήλυθα, Come, then, Socratidy, come 
down to me, that you may teach me that for which L’ve come. 

239. “Hidec....ti; You’ve come for what? This ar 
rangement of words is often used in interrogations. 

Lee 


126 NOTES. 


240, 241. “Ὑπὸ. .. . ἐνεχυράζομαι, For I am plundered 
and ravaged by interest and the hardest creditors, and my 
property ts taken for security. The phrase ἄγειν καὶ φέρειν, 
to drive and carry, i. e. to plunder, to ravage, is of very 
ancient origin, and refers to driving away cattle and carry- 
ing away fruits and other inanimate objects. In process of 
time its original force was lost, and the whole phrase was 
used in the simple sense of to plunder. For the construc- 
tion of τὰ χρήματ᾽ ἐνεχυράζομαι, see Matt. Gr. Gr., ὃ 421, 2. 
“ As, by a peculiar Greecism, verbs which in the active take 
a dative of the person can be referred to this person asa 
subject in the passive, these verbs in the passive have also 
the thing in the accusative, whilst in other languages only 
that which is the object of the active becomes the subject of 
the passive.” See also Soph. Gr. Gr., § 208. 

242. Πόθεν .... γενόμενος; How did you get into 
debt without knowing it? For the various constructions of 
λανθάνειν, see Matt. Gr. Gr. 8 552,b; Soph. Gr. Gr., 
§ 225, 8. 

245, 246. MicOov.... θεούς, And, whatever price you 
may ask me, I'll swear by the gods to pay down. For con- 
struction of two accusatives, see Soph. Gr. Gr., § 184. 

247, 248. πρῶτον... . . ἔστ. The word φόμισμα means 
either an established institution or a coin. It is used here 
equivocally, referring partly te what Strepsiades has said 
about paying. Translate, Yor, first, gods are not a current 
coin with us. 

248, 249. To.... Βυζαντίῳ; By what do you swear? 
by tron coins, as they do in Byzantium? The allusion here 
is explained by the following passage from Boeckh’s Public 
Economy of the Athenians, p. 768, 769. “It was similar to 
the iron money of the Clazomenians, with this difference only, 
that it was not at the same time an evidence of debt. By- 
zantium, notwithstanding its favorable situation for com- 
merce, and the fertility of its territory, was generally in a 


NOTES. 127 


miserable condition. The Persian and Peloponnesian wars, 
the wars of Philip, and the alliance with the Athenians, 
together with the tributes exacted by the latter, must have 
unfavorably affected its prosperity. With the barbarians in 
its vicinity it was engaged in continual contests, and was 
unable to restrain them, either by force, or by tributes; and 
to the other evils of war was added the tantalizing vexa- 
tion, that, when with much labor and expense they had 
raised a rich crop upon their fertile fields, their enemies 
destroyed it, or gathered what they had sown; until at last 
they were obliged to pay the Gauls valuable presents, and, 
in a later period, a high tribute, to prevent the devastation 
of their fields. These difficulties compelled the adoption of 
extraordinary measures, and finally the exaction of the toll on 
vessels passing the Bosporus, which in Olymp. 140, 1 (B. σ. 
220), involved Byzantium in the war with Rhodes. Among 
the earlier measures, adopted by them for relieving them- 
selves from pecuniary embarrassment, was the introduction 
of an iron coinage for domestic circulation, in order that they 
might use the silver in their possession for the purposes of 
foreign trade, for carrying on war, and for tributes. It was 
current during the period of the Peloponnesian war, and 
received the Doric appellation sidareos, as the small copper 
coin of the Athenians received that of chalciis. Since it 
was thin and worthless, it appears to have been merely a 
strong plate of iron, having an impression on one side.” | 

251. εἴπερ ἔστι ye, that is, ἔξεστι, tf tt is possible. 

254. Kable .... σχίμποδα, Sit down, then, upon the 
sacred couch. ‘The σχίμπους was a sort of folding-stool for 
travellers, invalids, and sedentary persons. Socrates was 
known to possess such a stool or couch. 

256. ᾿Επὶ τί στέφανον ; Crown, for what? For ἐπὶ τί, 
see Matt. Gr. Gr., 8 568, c. 

257. “Ὥσπερ .... θύσετε, Don’t sacrifice me like Atha- 


198 NOTES. 


mas. ‘The construction of this line is purposely confused, 
to express the alarm experienced by Strepsiades. Socrates 
attempts to place the chaplet upon his head, so as to frighten 
him. For the construction of ὕπως μή (σκόπει, look out, un- 
derstood) with the future, equivalent to a negative impera- . 
tive, see Matt. Gr. Gr., § 518, 7; Soph. Gr. Gr., § 214, b. 
The story of Athamas is thus told by a scholiast : — “ Atha- 
mas had two children by Nephele, Phryxus and Helle. De- 
serting Nephele, who was a goddess, he married a mortal. 
Nephele, therefore, in a fit of jealousy, flew up to heaven, 
and afflicted her husband’s land with a drought. Atha- 
mas sent messengers to Apollo to inquire concerning the 
drought; and his wife, wishing the death of Phryxus and 
Helle, bribed the messengers to declare, that the Pythian 
oracle’s response was, that the drought would not cease, 
unless they sacrificed the offspring of Nephele. Athamas 
then sends for them from the sheepfolds; but a ram, speak- 
ing with a human voice, warns them of their threatened 
death. They fled, therefore, with the ram, and, as they 
were crossing the strait to Abydos, Helle fell off and was 
drowned, and it was called the Hellespont, after her. But 
Phryxus, riding on the ram, arrives safely in the country 
of the Colchians, where he sacrifices the ram, gifted by the 
gods with a golden fleece, to Ares or Hermes; and, estab- 
lishing himself there, left his name to the country. But 
Nephele causes Athamas to suffer punishment for her chil- 
dren; he is brought forward, therefore, with a chaplet upon 
his head, about to be sacrificed on the altar of Zeus, when 
he is rescued from death by Hercules. Such is the repre- 
sentation of Sophocles in his play.” 

258, 259. Οὐκ... ποιοῦμεν, No, but we do all these 
things to those who are undergoing initiation. 

260. Agyew .... παιπάλη. τρίμμα, from τρίβω, to rub, 
something rubbed, polished, &c.; hence, metaphorically, ὦ 


NOTES 129 


person skilled and polished in any thing. κρέπταλον, a rattle 
or beil, and met. a talking person, a rattler. παιπάλη, fine 
meal, met. a subtle fellow, a keen, acute rogue. 

261, 262. Ma.... γενήσομαι, By Zeus, you will not de- 
ceive me; that is, What you say about my being made 
meal of I’m afraid will be true enough. Upon the 262d 
line Mitchell says, —‘“The words are hardly out of the 
mouth of Strepsiades, when the whole contents of the bag 
(a mingled mass of fine pebble, tin, and meal) are dashed 
into his face. Strepsiades sputters and spits, and spits and 
sputters, till, the intervening obstacles being at last removed, 
out comes the word παιπάλη. like a pellet from a pop-gun. 
But this is not all. Strepsiades turns to the spectators, and 
part of the freemasonry of the Socratic school is discov- 
ered ; for the face of Strepsiades, hitherto of a ruddy color, 
has now assumed the hue of deadly pale peculiar to that 
school. Such appears to me the meaning of this difficult 
passage.” 

263. Εὐφημεῖν, To observe a religious silence. ‘The cere- 

n0ny of initiation is now over, and nothing remains but to 
introduce Strepsiades to the new divinities. The first line 
is addressed to him; then Socrates proceeds with a solemn 
invocation to Air, and Ether, and the Clouds, the deities of 
the new school. 

266. τῷ goortoty, to the phrontist. “'These words,” 
says a scholiast, “may be understood either of Socrates or 
the old man; of Socrates, so that he may be invoking the 
clouds to appear to him; or of the old man, since Socrates 
already counts him among the number of the philosophers.” 
Mitchell says they refer to Strepsiades, “the newly admit- 
ted member. That the popular voice subsequently fixed 
the term on Socrates himself may be gathered from the 
language which Xenophon puts into the mouth of his Syra- 
cusan juggler, when offended at seeing the guests whom 
he had been brought to amuse paying more attention to 


190 NOTES. 


Socrates than ‘o his own sleight-of-hand tricks.” He theu 
cites the passaye from Xenophon’s Symposium to the fol- 
lowing effect :—~“‘ And these discourses going on, when the 
Syracusans saw them neglecting his exhibitions, and enter- 
taining themselves with one another, envying Socrates, he 
said to him, ‘Are you, then, O Socrates, the reflecter, so 
called (ὁ φροντιστής) ?’ ‘Better so,’ he replied, ‘than if I 
were called the unreflecting (ageortiotog).” ‘Yes, unless 
you were a reflecter (φροντιστής) upon things on high (τῶν 
μετεώρων). Do you know, then,’ said Socrates, ‘any thing 
higher than the gods?’ ‘ But, by Zeus, it is not these, they 
say, that you give your thoughts to, but the most useless 
δ δή πὸ But let these things alone, and tell me how 
many flea’s feet you are distant from me; for these are the 
things, they say, that you apply geometry to.” Xen. Sym. 
WEG: 

267. Mim. Strepsiades, frightened at the invocation, 
bawls out, begging the clouds not to appear until he has 
folded his cloak about him. 

268. To... . ἔχοντα, Unlucky that I am, to have come 
from home without my dog-skin cap! For the use of the 
accusative and infinitive with the neuter article, see Kiihner, 
Gr. Gr., § 308, R. 2. 

269. τῷδ᾽ εἰς ἐπίδειξιν, to exhibition before him, that is, 
before Strepsiades. The following lines are in that high 
poetic vein, of which no one was a greater master than 
Aristophanes, when he chose to give free scope to his lyric 
genius. 

270. χιονοβλήτοισι, snow-beaten. 

271. Νύμφαις, with the Nymphs (Soph. Gr. Gr., § 206), 
that is, the daughters of father Oceanus, and of Tethys, the 
same that compose the chorus in the Prometheus Bound. 

272. προχοαῖς, literally, the outflowings, that is, the 
mouths. — χρυσέαις ἀρύτεσθε πρόχουσιν, ye draw in golden 
pttchers. With regard to the places mentioned in these 


NOTES. 1921: 


lincs, Bothe observes, — “The poet describes the earth, 
from its centre, where Mount Olympus was believed to be 
situated, and in four directions, — towards the west, where 
were the ocean isles, the south, where was the Nile, the 
north, where was Lake Meotis, and, finally the east, where 
was Mimas, the highest mountain in Ionia, — not in Thrace, 
as has been supposed ;” the same Mimas, probably, that is 
mentioned in the Odyssey, ILI. 172: — 


Ἢ ὑπένερθε Xiow, παρ᾽ ἠνεμόεντα Μίμαντα. 


275. ᾿“ἕναοι Νεφέλαι. “Loud claps of thunder are here 
heard; these are succeeded by a solemn strain of music; 
after which, a chorus of voices, apparently proceeding from 
a body of clouds which float about on the side of Mount 
Parnes. These clouds gradually assume the appearance of 
females of the most commanding aspect, and subsequently 
occupy, like other choruses, the orchestra, or empty space 
between the stage and the spectators.” Mitchell. 

After the prayer of Socrates, the clouds summon each 
other to obey the invocation to assemble, and thus to make 
their appearance before Socrates. ; 

276. δροσερὰν φύσιν εὐάγητον, dewy, easy-moving nature. 
With regard to the appearance of the clouds, Welcker re- 
marks, — “In the uncovered theatre, the chorus was really 
seen moving along from the side of Parnes, veiled like 
clouds, directly opposite the spectators, coming down over 
the walls, which on both sides shut in a large part of the 
long stage, and behind which the machinery was disposed. 
While they were rapidly and tumultuously shaking off their 
cloudy veils, and coming forth as women of wondrous dig- 
nity and beauty, they occupied the orchestra, the empty 
space between the spectators and the players, and then took 
the elevated Thymele, in order to speak, by means of the 
choir-leader, with the actors or the spectators, to whom they 
alternately addressed themselves.” 


132 NOTES. 


287-290. ’4dN.... γαῖαν, But let us, having shaken off 
the showery cloud from our immortal form, survey the earth 
with far-seeing eye. ‘There is some doubt as to the reading 
of ἀθανάτας ἰδέας. Some have ἀθανάταις ἰδέαις, and a 
scholiast mentions the reading ἀθανάτης ἰδέας. The read- 
ing given in the text is perhaps the best, and the genitive 
case is constructed with ἀποσεισάμεναι, having shaken off 
Srom. 

292. "“Hicbov.... θεοσέπτου ; Socrates addresses this to 
Strepsiades. G@socentov, worthy of divine worship, to be 
reverenced as a god. 

296. ἅπερ ..- -« οὗτοι. The poet makes Socrates allude 
satirically to the comedians in these words. τρυγοδαίμονες. 
This ludicrous epithet was compounded in imitation of the 
καχοδαίμονες, applied by the comic poets to Socrates and his 
fellow-philosophers. It means literally (τρύξ, δαίμονες) lees- 
demons, and refers to the comic actors daubing their faces 
with the lees of wine. 

297. μέγα... -. ἀοιδαῖς, for a great swarm of goddesses 
is in motion with their songs. 

299. Παρθένοι ὀμβροφόροι. “ After a preluding strain of 
music, the voices of the chorus are again heard, but they 
themselves are not yet visible.” Mitchell. 

300. λιπαρὰν χθόνα Παλλάδος, the fair land of Pallas. 
Pindar called Athens λιπαραὶ καὶ ἀοίδιμοι, “Ελλάδος ἔρεισμα, 
᾿ χλειναὶ θῆναι, illustrious Athens, fair and famous, the prop 
of Greece. 

302. ἀῤῥήτων ἱερῶν, the unspeakable, sacred rites, that is, 
the Eleusinian mysteries. 

303. ῆυστοδόκος δόμος. “ Sacellum templi Eleusinii, in 
quo initiatio fiebat.” Schutz. 

304. ἀναδείκνυται, is thrown open. 

308. Kat... . ἱερώταται, and the most sacred processions, 
in honor of the immortals. 

3809-318. Evotéqavot.... αὐλῶν, And well-crowned fes- 


NOTES. 133 


tivals and banquets in all the seasons, and, at the coming 
spring, the Bromian joy, and the rivalries of harmonious 
choruses, and the deep-resounding music (literally, J/use) 
of flutes. This choral song is a beautiful description of the 
festivities and poetical amusements of the Athenians. No 
city of ancient times equalled Athens: in the variety, taste, 
and splendor of its entertainments, its processions, its cyclic 
dances, and its Dionysiac exhibitions. These last were the 
most remarkable of all, as being the -occasions which pro- 
duced the masterpieces of the Attic tragic drama, the works 
of Aischylus, Sophocles, and Euripides. These exhibitions 
are meant by the Boouia χάρις, at the coming of spring, the 
greater Dionysiac festival taking place at that season of the 
year. See Panegyricus of Isocrates, p. 15, Felton’s edi- 
tion, and note, p. 79. 

Mr. Wordsworth, the elegant author of “ Athens and 
Attica,” makes the following remarks : — “ Aristophanes, in 
his play of the Nephele, brings his goddesses, the Clouds, 
from the heights of Mount Parnes, when, in compliance 
with the invocation of Socrates, they descend to visit the 
earth. Quitting their aerial station on this lofty mountain, 
they soar over the Athenian plain, and floating across the 
peaked hill of Lycabettus, at the north-east extremity of the 
city, and above the town itself, and the rock of the Acropo- 
lis, they fly over the Parthenon, and at last alight on the 
stage of the theatre on the south side of the citadel. Be- 
fore they commence their flight, they join their voices in a 
choral strain, replete with poetical beauty, which furnishes 
conclusive evidence that the poet who composed it might 
have been as distinguished for lyrical as he was for his 
dramatic excellence; that, in a word, he might have been a 
Pindar, if he had not been an Aristophanes. 

“ While listening to the beautiful language and melodious 
harmony of this song, the audience might almost imagine 
‘itself to be placed in the same elevated position as was 005 

12 


134 NOTES. 


cupied by those who united in giving it utterance; and 
thence it might seem to contemplate all the noble and fair 
spectacles which they there see and describe. Together 
with the chorus of the Clouds, it might appear to look down 
upon the objects of which they speak as then visible to 
themselves: to see the land of Pallas stretched out before 
them, and the lofty temples and statues of Athens at their 
feet; to trace the long trains of worshippers in festal array 
going over the hills to the sacred mysteries of Eleusis ; to 
follow the sacred processions winding through the streets to 
the Acropolis of the Athenian city; to witness the banquets 
and sacrifices on solemn holidays; to behold the crowds 
seated in the theatre at the beginning of spring, and view- 
ang the dances and listening to the melodies which there 
gave an additional charm to that season of festivity and 
joy-” Pictorial Greece, pp. 87, 88. 

316. psyalat,.... ἀργοῖς, great goddesses for idle men, 
that is, the philosophers and sophists, whose pursuits the 
poet would represent as idle and useless. “᾿φφέλιμοι τοῖς 
ἀνθρώπων ἀπράκχτοις * οἱ γὰρ ἀργοὶ κεχήνασιν εἰς τὰς Νεφέλας,; 
says the Scholiast. 

317, 818. Aimeg .... κατάληψιν. In following out his 
purpose of ridiculing the philosophers, the poet makes Soc- 
rates ascribe to the clouds the faculties and arts which the 
sophists professed to ascertain and to cultivate. He ludi- 
crously mingles up philosophical terms with the cant of the 
jugglers. γνώμην, thought. διάλεξιν, the art of discussion by 
question and answer, or dvalectics, —an art carried to its 
highest perfection by Socrates. vovr, used in a variety of 
philosophical senses, but all traceable to the general idea of 
entelligence, or the intelligent principle, as distinguished from 
matter. τερατείαν, the wondrous art, the art of dealing with 
supernatural things, jugglery, witchcraft, the black art. 
περίλεξιν, the art of talking round and round a subject; a 
gloss explains, εὐπορία καὶ περιττότης λόγων, abundance and 


NOTES. 138 


superfluity of words, the wordy art. xgovow, literally, a 
blow, a stroke upon vessels to ascertain whether they are 
cracked, hence a proof, a test, also the touch of a musical 
instrument; perhaps, here, playing upon the mind, cieat- 
ing; the same idea that is expressed in Hamlet’s dialogue 
with Guildenstern : — 


“ Hamlet. Will you play upon this pipe ? 

“ Guildenstern. My lord, I cannot, 

“ Ham. I pray you. 

“ Guil. Believe me, I cannot. 

“Ham. I do beseech you. 

“ Guil. I know no touch of it, my lord. 

“ Ham. ’Tis as easy as lying; govern these ventages with your 
finger and thumb, give it breath with your mouth, and it will discourse 
most eloquent music. Look you, there are the stops. 

“ Guil. But these cannot I command to any utterance of harmony ; 
I have not the skill. 

“ Ham. Why, look you now, how unworthy a thing you make of 
me! You would play upon me; you would seem to know my stops ; 
you would pluck out the heart of my mystery; you would sound me 
from my lowest note to the top of my compass ; and there is much music, 
excellent voice, in this little organ; yet cannot you make it speak. 
S’blood, do you think I am easier to be played on thana pipe? Call 
me what instrument you will, though you can fret me, you cannot play 
upon me.” Hamlet, Act III., Sc. 2. 


κατάληψιν, comprehension, skill in getting hold of any thing. 
from χαταλαμβάνω. In the “ Knights,’ Aristophanes de- 
scribes a rhetorician thus : — 

Συνερκτικὸς γάρ ἔστι Kal περαντικος, 

Καὶ γνωμοτυπικός, καὶ σαφὴς καὶ κρουστικός, 

Καταληπτικός τ᾽ ἄριστα τοῦ θορυβητικοῦ. 

819-822. Ταῦτ᾽... . ἐπιθυμῶ. Ταῦτ᾽ ,an Attic construc- 
tion for διὰ ταῦτα. Strepsiades breaks out in a strange flood 
of words, as if in a fit of inspiration. σπεπότηται, has soared 
aloft. λεπτολογεῖν, to discuss subtilely, to split hairs, 


“to distinguish and divide 
A hair ’twixt south and south-west side.” 


136 NOTES. 


στενολεσχεῖν, nearly the same as the last, to argue subtilely. 
Kai γνωμιδίῳ. This line is supposed by Wieland to reier 
to the manner in which Socrates was accustomed to manage 
his philosophical discussions with the aid of his celebrated 
irony (called by an old English writer dry mock), by which 
he opposed the opinions or maxims of the philosopners 
(φνώμας) with doubts and questions (γνωμιδίοις), which, as 
it were, stuck them through. Strepsiades is so much excited 
by this new enthusiasm, that he longs to see the inspiring 
goddesses in bodily form. 

323. πρὸς τὴν ΠΙαρνηθ᾽, towards Parnes, a mountain in 
Attica, in sight of the spectators at the theatre. It is situated 
northward from Athens, and now bears the name of Casha. 
The situation of the great Dionysiac theatre, as is well 
ixnown, was at the south-east corner of the Acropolis. Ina 
vesidence of some months at Athens, I was almost in the 
daily habit of visiting a spot, which suggested so many lit- 
erary and poetical reminiscences; and as I passed round the 
corner of the Acropolis, my eye always rested upon the dis- 
tant heights of Parnes. I seldom saw the summit without 
a mass of delicate, silvery clouds resting upon it, which 
brought to mind the beautiful choruses of this comedy. It 
is beyond a doubt, that this daily sight suggested to Aris- 
tophanes the airy graces, with which this piece abounds ; 
and as the actor spoke the words, he might behold from the 
extremity of the stage—the theatre being open to the sky — 
through the pure transparency of the Attic atmosphere, thie 
floating vapors, easily transformed by the imagination into a 
band of lovely maidens, moving like goddesses down from 
the slopes of the mountain, and passing over the olive-cov- 
ered valley which lay between. See note to 309-313. 

324, 825. Xwgovo’.... πλάγιαι. The editors have found 
some difficulty with this sentence on account of the repe- 
tition of the pronoun evra. Mitchell says, — “ Socrates is 
here to be considered as pointing out to Strepsiades the 


NOTES. 137 


course which the clouds are taking; these coming through 
the holiows between two hills (χοῖλα) and shrubberies 
(δασέα) ; those proceeding sideways (πλάγιαι), till he brings 
them to the εἴσοδος, or place where the chorus entered the 
part of the theatre appropriated to them.” Bothe assigns 
part of the sentence to Strepsiades, altering the pronoun to 
αὐταί; so that Strepsiades is made to ask, ΨΨέρε, ποῦ, δεῖξον, 
χωροῦσ᾽ αὐταί; and remarks with regard to the common 
arrangement, “ Quid sibi velit bis positum, αὐται, nemo ex- 
putaverit.” It seems to me the words will not bear the 
meaning put upon them by Mitchell. They clearly are 
not used by Socrates to indicate separate bodies of clouds 
approaching. There is no difficulty in supposing Socrates 
to be watching their course, and pointing them out to 
Strepsiades as they move along; repeating the demonstra- 
tive pronoun (used, according to a very common idiom, ad- 
verbially), because Strepsiades, though looking hard, could 
not see them at first at all. According to this view, the 
common reading is the correct one, and its explanation 
natural and easy. ‘Translate, therefore, There they come, 
very many, through the hollows and the thickets ; (don’t you 
see?) there, winding their way along. For the second 
αὗται, see Soph. Gr. Gr., § 163, n. 2. 

325. Τί τὸ χρῆμα; What’s the matter with me? 

326. Παρὰ τὴν εἴσοδον, By the entrance. The eicodog was 
a passage at the side of the theatre, leading into the orches- 
tra, through which the chorus having entered, arranged 
themselves for the choral chant and dance.—'Héy.... 
οὕτως, Ah, now I just see them, so. 

327. si.... xohoxtvtaig. The scholiast explains, — “ εἰ 
μὴ λήμας ἔχεις ἐν τοῖς ὀφθαλμοῖς μεγάλας ὡς κολοχύγτας * λήμη 
δέ ἐστι τὸ πεπηγὸς δάκχρυον," -- unless you have rheum-drops 
in your eyes as big as gourds. 

328. Νὴ... .-. κατέχουσι. _Bothe very unnecessarily as- _ 
signs the words πάντα γὰρ ἤδη κατέχουσι to Socrates, for the 

15:3: 


198 NOTES. 


reason that “Minus apte hee verba leguntur sub persona 
Strepsiadis, aspectu Nubium defixi; subjicit Socrates ratio- 
nem, cur jam fieri non possit, quin senex conspiciat Nubes.” 
But the words naturally belong to Strepsiades. Socrates 
has already told him that he cannot help seeing them, unless 
_ he is as blind as a bat; and Strepsiades replies, Yes, to be 
sure, and then breaks into a direct address to them, — O 
much honored Clouds !—to be sure-I see them, for they jill 
up every thing. Ὁ 

330. Ma Av’. This form implies a negation, Wo, by 
Zeus. 

331-334. Οὐ... .. μουσοποιοῦσιν. The poet is here ridi- 
culing the whole body of charlatans, in divination, medicine, 
music, and poetry. Aristophanes was a great conservative, 
and looked with the keenest contempt upon all the innova- 
tions which the fashions of his age were introducing to pop- 
ular favor. The vices of the sophists were pervading every 
department of Attic life and art. Pretended philosophers 
were teaching atheistic paradoxes; the authors of the cyclic 
choruses and the lyric poets generally were introducing a 
forced, quaint, and affected style, clothing commonplace or 
exaggerated thoughts in fantastic phraseology, like some of 
the new-school poets of the present age; the musicians 
were throwing aside the severe and simple strains which 
braced up and strengthened the souls of the heroes who 
fought at Marathon, and substituting in their place an effem- 
inate and corrupting musical mannerism, under which the 
youth of Athens were becoming voluptuous and feeble; jug- 
glers and quacks of every description were pouring their 
debasing influences upon the democracy of Athens, under- 
mining the virtue of the people, ard preparing them for the 
ruin which speedily overtook the state in the war with 
Sparta, and afterwards in the conflicts with Macedonia. 
Θουριομάντεις, Thurian soothsayers. The poet alludes here 
to the Athenian colony sent out, B. c. 444, to settle near the 


NOTES. 139 


ancient Sybaris. The soothsayer Lampon was placed at 
the head of the expedition ; according to Diodorus, he was 
honored with the privilege of a seat at the table of the Pry- 
taneum, — “ ἔτυχε δὲ καὶ τῆς ἐν Πρυτανείῳ σιτήσεως. This 
privilege was granted only to the most distinguished men. 
It is this circumstance that gives a point to the poet’s satiri- 
cal allusion. ἰατροτέχνας, doctor-artists, quacks. Like Mo- 
litre, the most illustrious comic poet of modern times, Aris- 
tophanes seems to have had a great antipathy to medical 
men. He alludes in this passage, probably, to Hippocrates, 
to whom and to whose descendants the privilege of the Pry- 
taneum was granted by the Athenians. σφραγιδογυχαργο- 
κομήτας. This amusing compound is thus explained in the 
Etymologicum Magnum:—“6 ἄσωτος, παρὰ ᾿Αριστοφάνγει " 
ἀπὸ τοῦ σφραγὶς καὶ ὄνυξ καὶ ἀργὸς καὶ κόμη, οἱονεὶ ὃς φέρει 
τοὺς δακτυλίους μέχρι τῶν ὀνύχων, καὶ ὃς ἀργός ἐστι καὶ κομ- 
ata.” A dissolute person, one who wears rings down to 
his finger-nails, is lazy, and has long hair. Voss made a 
German equivalent, Ringfingerigschlendergelockvolk, ring- 
Jingeredlazylonghairedfolk. Κυχλίων te χοῤῶν. “ Circular 
dances, which on festive occasions were performed round the 
altar of a god with an accompaniment of song. As dances 
of this kind originally belonged to the Bacchic festival, tlie 
cyclic dance and the Bacchic dithyramb bear nearly the 
same meaning. Hence, χυχλιοδιδάσκαλος (Av. 1403), a poet 
who teaches his dithyrambic strains for some public exhibi- 
tion.” Mitchell. Gouarozauntas, song-twisters. The poet 
designedly uses these sesquipedalian words to ridicule the 
pomp and unmeaning bombast of the fashionable style intro- 
duced by the dithyrambic composers. Voss remarks, — 
“ Their formerly simple, vigorous, choral style of music was 
lost in fustian and artificial flourishes.” He alludes specially 
to Cinesias, Philoxenus, and Cleomenes. μετεωροφένακχας, 
meteor~jugglers, or star-gazers. μουσοποιοῦσιν, celebrate in 
verse. This whole passage is a very ingenious satire upon 


140 NOTES. 


the absurdities introduced into music, poetry, and literary 
style in general, in the time of Aristophanes. A satirical 
poet of equal powers might find the materials for a similar 
comedy in the affectations which have of late been foisted 
upon the English language by the writings of a class of 
whimsical and euphuistic authors who have met with some 
favor under the shelter of Mr. Carlyle’s example. 

331. Sqq. The classes of impostors mentioned here, and 
the still more numerous classes satirized in the Birds, show 
how easily imposed upon were the people of Athens, not- 
withstanding their general intellectual culture. [ἢ this, as 
in so many other respects, a parallel might be drawn be- 
tween the Athenian and the American people — especially 
the New Englanders. Among us there is a general activity 
of mind, which, while it has its great and undeniable advan- 
tages, has also its dark side. ‘The active, excited state of 
mind, which now exists among the descendants of the Puri- 
tans, by no means necessarily implies the prevalence of a 
sound common sense. On the contrary, it lays whole classes 
of honest people open to the arts of the impostor in a pecul- 
iar degree. For this same excited condition of the mind, 
without careful training in the habit of rigid accuracy 
of observation, and the most truthful report of the things 
observed, is far from guarding us against all kinds of 
illusions of the senses; all kinds of false reasonings upon 
facts assumed without proof, and fatal errors on the most 
important subjects. 

Ingenious as were the impostors in Athens, they never 
ventured on such a bold experiment with the popular ere- 
dulity as have the American Spiritualists. The writing 
mediums, the trance mediums, the consulting mediums, whe 
have played so weird a game for several years past, with 
the weaknesses of men and women, find no representatives 
of their names in the copious vocabulary of imposture 
which Aristophanes wielded with such telling effect. Ludi- 


NOTES. 141 


crous as is the picture of the Phrontisterion exhibited in 
the Clouds, even the wit of Aristophanes cannot make it 
half so ridiculous as the session of a “circle” of Spiritual- 
ists round a table, while the long-legged and vulgar mysta- 
gogue passes drums, hand-bells, musical instruments, and 
other things equally wonderful, round the ring of weakling 
men and women, who surrender themselves, hand and foot, 
to the most puerile imposture that ever discredited the 
human mind. It needs a genius like that of Aristophanes 
to lash this modern folly and cheat, until men, women, and 
children shall be ashamed to acknowledge they were fora 
moment taken in by its shallow juggleries. 

The dithyrambic poets, parodied in the reply of Strep- 
siades, must have been a good deal like Mr. Thomas L. 
Harris, whose “ archetypal ideas,” we are told by the highest 
authority, “were internally inwrought by spiritual agency 
into the inmost mind of the medium, he having at that time 
passed into a spiritual or interior condition. From that 
time until the fourth of August, fed by continual influxes 
of celestial life, these archetypal ideas internally unfolded 
within his interior or spiritual self; until at length, having 
attained to their maturity, they descended into the externals 
of the mind, uttered themselves in speech, and were trans- 
cribed as spoken by the medium, he by spiritual agencies, 
being temporarily elevated to the spiritual degree of the 
mind for that purpose, and the external form being ren- 
dered quiet by a process which is analogous to physical 
death.” 

Such was the origin of the “Lyric of the Morning 
Land.” I take, quite at random, a few lines from that im- 
mortal work, as the best possible illustration of the dithy- 
rambic spirit, which Aristophanes satirizes : — 


“41 see a cataract of crimson fire, 
As if a world were melted into flame, 


142 NOTES. 


Poured from the hollow sky, 
Falling tumultuously, 
And spreading as it rolls, 
With music like the utterance of all souls 
. Into ten thousand, thousand worlds again, 
And all the drops blown into fiery suns, 
And all the sparkles, whirling from the pyre 
Are planet-guided spheres and horizons.” 
Now, if the Athenian dithyrambists ever equalled the sub- 
limity of this passage, the fact has escaped my researches. 
335-339. Ταῦτ᾽ .... κιχηλᾶν. The poet is here intro- 
ducing and ridiculing the twisted and forced expressions of 
some of the Dorie dithyrambic poets. Ταῦτ᾽, i. 6. διὰ ταῦτα, 
a common Atticism, For this reason. ἐποίουν, they poetized, 
in such language as follows:— ὑγρᾶν Negeday στρεπταιγλᾶν 
δάϊον oouar, the violent rush of the watery, lightning-whirling 
clouds. ‘There is some dispute as to the meaning of στρὲ- 
πταιγλᾶν ; according to some it should be rendered light- 
turning, or light-obstructing, that is, darkening the light of 
the sun. Passow gives it the other meaning, and evidently 
makes it to agree with ὁρμᾶν; if so, it should be accented 
στρεπταίγλαν. This was the understanding of the scholiast, 
and the reading is adopted by Bothe; and another scholiast, 
quoted by him, states that this reading was found in the 
older copies. But the reading in the text is mentioned by 
the scholiasts, and approved by Hermann, Invernizius, and 
Dindorf. The expressions in the following line are also 
quotations ; πλοχάμους, &c., the locks of the hundred-headed 
Typhon. Aaschylus (Prom. Vinct. 852-854) calls the same 
mythological monster 
“ δάϊον τέρας, 
"Exatroyxapyvov 
Τυφῶνα θοῦρον, πᾶσιν ὃς ἀνέστη , θεοῖς. 


πρημαινούσας τε θυέλλας, the hotly blowing tempests. In the 
following line there is some question what the feminine 


NOTES. 143 


adjectives, ἀερίας, διεράς, belong to. Mitchell points the line 
so as to make these two words a separate quotation, aerial 
fluid. Kuster says, — “sed non multum nobis laborandum 
puto de ἀκολουθίᾳ et sensu totius loci hujus, quippe quem 
poeta ex vocibus et phrasibus dithyrambicis, hine inde 
sumptis, contexerit, ut indicaret canora et tumida Dithyram- 
bicorum carmina sezepe sensu et connexione carere.” Upon 
which an excellent judge of the comic style remarks, — 
“ Kuster is right. The comedian is quoting from the lyric 
poets without intending to favor us with any sense.” Some 
refer these words to Negédac. Others, as Brunck, Her- 
mann, Schiitz, and Bothe, read cegiove διερούς, making them 
agree with οἰωνούς. In the one case, the line is to be trans- 
lated, Zhen the aerial, liquid (clouds), the crooked-clawed, 
air-swimming birds. In the other, applying all the epithets 
to birds, The aerial, liquid, crooked-clawed, air-swimming 
birds. The next quotation is Ὄμβρους .... Νιεφελᾶν, The 
showers of waters from the dewy clouds. The conclusion 
shows how the clouds supported all these characters. Then, 
in return for these things, they gulped down slices of excel- 
lent large mullets, and the bird-flesh of thrushes. Mitchell 
says, —“ This verse is evidently a quotation from some 
Doric poet, not improbably Epicharmus, whose dramas are 
continually cited by Athenzus for articles of food, more 
particularly his ‘I@ καὶ Θαλάσση; and his ‘ Hebes Nuptix, 
A scholiast says that the whole passage refers to the 
dithyrambic poets, who were feasted by the Choregi (i. e. 
those who defrayed the expense of the entertainment,) and 
those who supped in the Prytaneum.” 

340. Mua... . δικαίως ; An elliptical sentence ; literally, 
And on their account not justly? that is, as explained by a 
scholiast, Were they not justly held worthy of this honor and 
of these feasts, on account of what they had written about the 
clouds? Seager, however, divides the line differently, Διὰ 
μέντοι τάσδ᾽ " οὐχὶ δικαίως; It ts indeed on their account; 


144 NOUVES. 


and ts it not justly? —ci παθοῦσαι is an idiomatic expres- 
sion, like ti ἔχων, τί μαθων, literally, having experiencea 
what? that is, how ts tt that? 

342. ἐκεῖναι, they) that is, the clouds in the sky. 

343. εἴξασιν, for ἐοίκασιν, resemble. — épioisw πεπταμένοισι, 
spread fleeces, pert. pass. of πετάννυμι. 

844. αὗται. . .. ἔχουσιν, but these have noses. “The 
chorus of Clouds have entered wearing masks with large 
noses,” says a scholiast. ‘This would be necessary, to make 
them appear of just proportion to the more distant spectators, 
while to Strepsiades they would seem to be huge protuber- 
ances. ; 

The passage commencing with 1. 346 will remind the 
reader of the dialogue between Hamlet and Polonius. 


“ Hamlet. Do you see yonder cloud, that’s almost in shape of a 
camel ? 

“ Polonius. By the mass, and ’t is like a camel indeed. 

“Ham. Methinks it is like a weasel. 

“Pol. It is backed like a weasel. 

“ Ham. Or like a whale. 

“Pol. Very like a whale.” 


349. “Ayour .... τούτων, A wild one of these shaggy fel- 
lows. The word ἄγριος is often used in the sense of debauched, 
licentious, just as in English we call a rakish person a wild 
fellow. According to a scholiast, the son of Xenophantes 
here alluded to was Hieronymus, a dithyrambic poet. ‘The 
clouds are represented as likening themselves to centaurs, in 
derision of these shaggy gentlemen. 

351. Σίμωνα. Of the Simon here spoken of a scholiast 
says, — “ He was a sophist of that time, and somewhat dis- 
tinguished in public affairs. Eupolis mentioned him also in 
his “ Cities,” and charged him with the same crimes in these 
words, — “ He pilfered money from Heraclea.” 

353. Ταῦτ᾽, 1. 6. Διὰ ταῦτα. The Cleonymus here sati- 
rized was frequently made the butt of the comic poets fo- 


NOTES. 145 


his cowardice, and for having thrown away his shield in bat- 
tle. This of course rendered him infamous. 

355. Κλεισθένη. The Clisthenes here spoken of was a 
noted debauchee of the times, and is elsewhere ridiculed by 
Aristophanes. 

306-359. Xatoete.... χρηζεις. The clouds have now 
arranged themselves, and Strepsiades, as if again inspired, 
addresses them in a very lofty style. They reply first to 
him, and then turn to Socrates again. And thou, too, priest 
of subtlest trifles, say, what wouldst thou with us now ? 

361. Προδίχῳ. A philosopher from Ceos, and a contem- 
porary of Socrates. He is mentioned in the “ Birds,” and 
in a fragment of the “ Tageniste.” He is spoken of as 
charging an enormous price for his instruction. 

362, 863. “Ot... . σεμνοπροσωπεῖς. “In Symposio Pla- 
tonis, ubi Alcibiades narrat qualem se Socrates militie ges- 
serit et quomodo, czteris Atheniensibus, quum apud Delium 
victi essent, fugientibus, ipse recesserit, ad Comicum nos- 
trum, qui in illo convivio aderat, se convertens Alcibiades 
dicit: ἔπειτα ἔμοιγε ἐδόχει, ὦ ᾿“ριστόφανες, τὸ σὸν δὴ τοῦτο, 
καὶ ἐκεῖ διαπορεύεσθαι ὥσπερ κἀνθάδε, βρενθυόμενος καὶ τὼ 
ὀφθαλμὼ παραβάλλων, magnifice inambulans et oculos hue 
illuc circumferens.” Bergler. This is the passage to which 
Mitchell alludes: —“ This description of his great master’s 
exterior (done, no doubt, to the life) did not escape Plato, 
but he adverts to it with the utmost good-humor.” βρενθύ- 
ouat means to demean one’s self proudly and haughtily, to 
throw the breast forward, to strut. τὠφθαλμὼ παραβάλλεις. 
“ Male interpres, cireumfersque oculos. Sensus est, odliquis 
oculis alios intueris; more scilicet hominum superborum, 
qui recto vultu aliquem aspicere dedignantur.” Kuster. A 
scholiast says, —“It is a characteristic of the haughty not 
to keep their look fixed upon the same point, but to move it 
up and down, and to turn it hither and thither.” Upon the 
habits of Socrates, Mitchell thus comments : — “If any man 

13 


146 NOTES. 


in Athens had by his prodigious talents the power of placing 
at his feet the wealth, the honors, and the pleasures of that 
clever but giddy metropolis, it was unquestionably the son 
of Sophroniscus ; but, from the commencement of his ca- 
reer, he had evidently determined that it should be other- 
wise. Unlike the fashionable and grasping sophists, he had 
resolved that all his instructions should be almost, if not en- 
tirely, gratuitous; unlike them, instead of carrying philoso- 
phy into the mansions of the wealthy, he had determined to 
carry it among artisans and laborers, — into shops and hov- 
els, — into the agora and the palestra, — at all hours and 
all seasons. And how was he to be supported in an enter- 
prise at once so new and so laborious? Pay he would not 
receive, — private fortune he had none; his only resource 
was to make himself independent of circumstances, by 
adopting the mode of life described in the text; and this he 
did cheerfully and unflinchingly. And what was the result ? 
Such blessings as all the treasures of the bloated sophists 
could not have purchased, —a frame of body which disease 
never reached, and a tone of mind superior alike to the 
fear of man.and the fear of death.” “xaq ἡμῖν σεμνοπρο- 
σωπεῖς, et nobis fretus supercilium tollis; vel gravitatem 
quamdam et fastosum vultum pre te fers.” — Kuster. 

564, τοῦ φθέγματος, genitive of exclamation. 

367. [οὐ μὴ ληρήσῃς. So all the MSS. Most modern 
editions have ληρήσεις by emendation. See noie on ve. 226 
in Appendix. | 

368. ἔμοιγ᾽» the emphatic form of the personal pronoun. 

369. αὗται δή που, These, to be sure. For the force of 
the particles, see Kiihner, Gr. Gr., § 315, 2. 

370. (φέρε... τεθέασαι; Come, where have you ever 
seen rt raining without clouds? The use of ὕει, ἐξ rains, is 
a singular idiom of the Greek. ‘Though translated as an 
impersonal verb, it is not strictly one, but agrees with ὁ θεὸς 
or ὁ Ζεύς understood, as is shown by the masculine form, 


NOTES. 147 


when the participle is used. The phrase itself seems to 
contradict the atheistical doctrine which the poet represents 
Socrates as teaching to his new disciple. 

371. αἰθρίας (οὔσης understood), in fuir weather. For 
construction, see Soph. Gr. Gr., § 196. 

375. ὦ πάντα σὺ τολμῶν; you all-daring man. Wolf 
translates this by an epithet applied to the philosopher 
Kant by Moses Mendelsohn, — Du, Alleszermalmer, thou 
all-crusher. 

379. ὥστε φέρεσθαι; For the construction of ὥστε with 
the infinitive, see Kiihner, Gr. Gr., § 306, R. 3. 

380. δῖνος ; Mitchell quotes from Siivern the following 
passage :— “One of the most prominent cosmogonical doc- 
trines attributed by Aristophanes to the master of the 
Phrontisterium is that which describes the whirlwind god, 
Aivos, by whom, as the sovereign ruler of the world, Zeus 
and the other gods are displaced. One of the scholiasts ob- 
serves, that this is borrowe@® from Anaxagoras. Wieland 
finds fault with that notion, and remarks, on the contrary, 
that the doctrine arose out of the school of Democritus, and 
may have been brought to Athens by his disciple Prota- 
goras. But the divor or δῖναι of Anaxagoras were very 
different from those of Democritus. According to the sys- 
tem of the former, they came into being at the moment 
when Intelligence (ove) had given life and motion to mat- 
ter, which was originally without motion; but, according to 
Democritus, they were themselves the originals of all things, 
and bodies were formed by the chance collision of the 
atoms contained in them. Now it might be said that a pre- 
cise distinction of these two vortex-systems was no business 
of the poet’s, particularly as Anaxagoras himself, by not 
defining the further operation of the Nove, or Intelligence, 
by means of these vortices, had left it undecided whether 
the former or the latter, the ove or the vortices, predom- 
inated in the formation of the world. But the δίψος of the 


148 NOTES. 


Clouds is brought forward by the circumstance, that he was 
said to have displaced Zeus, and that Anaxagoras was ac- 
cused of ἀσέβεια, for having transformed the gods into alle- 
gories, and for having given an earthly existence to the 
heavenly bodies which had been held to be gods; here there 
is evidently an allusion to Anaxagoras.” 

380, 881. τουτί .... βασιλεύων, literally, this had been 
unknown to me, Zeus being no more, but Dinos reigning in 
his place. The last part is put grammatically in apposition 
with τουτί. The common construction would have been the 
accusative before the infinitive, or Zeve nominative to ἐλελγθη 
(pluperfect of λανθάνων), followed by ὦν. 

385. 24m0.... διδάξω, 11 teach you from your own ex- 
ample. ‘The poet is ridiculing the Socratic method of argu- 
ing with examples taken from common life. 

386. Cauov.... ἐμπλησθείς, filled with soup at the Pan- 
athenaic festival. The Panathenza was the most noted of 
all the Attic festivals. Forea minute account of it, see 
Smith’s Dictionary of Greek and Roman Antiq., Art. Pan- 
athena. Upon this passage a scholiast observes, that at 
this time all the cities that had been founded by Athens sent 
an ox to be sacrificed, whence it came to pass that there 
was a great abundance of beef, and people ate more than 
they ought. Wheelwright (Comedies of Aristophanes, Vol. 
I., p. 83) illustrates this scene by the following lines from 
Shakspeare, Henry IV., P. I., Act 3, Se. 1:— 


“Diseased nature oftentimes breaks forth 
In strange eruptions; oft the teeming earth 
Is with a kind of colic pinched and vexed 
By the imprisoning of unruly wind 
Within her womb,” ete. 


398. Κρονίων ὑζων, smelling of Cronian things; that is, 
musty, old-fashioned, old as Cronos, old as the hills. — Bex- 
κεσέληνε. This word refers to the story toid in Herodotus 
of two infants being shut up and kept out of the sound οὗ 


NOTES. 149 


human language, for the purpose of ascertaining what is the 
oldest dialect. The first word they uttered was fezog, the 
Phrygian word for bread. The last part of the compound 
refers to the opinion of the Arcadians that their nation was 
older than the moon. The whole word, therefore, means 
antiquated, musty, before the flood, antediluvian. 

400. Θέωρον. Theorus is mentioned also in the Achar- 
nians and Wasps. He was the object of satire as a flatterer, 
and in his place figures as a perjurer. 

401. Sovrwy.... ᾿Αθηνέων. These words are a quota- 
tion from Homer’s Odyssey, II. 278: — 


"AAW ὅτε Σούνιον ἱρὸν ἀφικόμεϑ᾽, ἄκρον ᾿Αϑηνέων. 


Sunium is the name of a well-known promontory of Attica. 

402. τί μαθών ; having learned what? that is, upon what 
principle does he do this? Some read τί παθών ; an idiom 
already explained; how ἐς it that he does it? what possesses 
him to do this? There is no material difference of sense. 
See note to 1. 340. 

408. Νὴ A’;.... Διασίοισιν, By Zeus, I met with just the 
same thing at the Diasian feast. The Diasia was an ancient 
festival in honor of Ζεὺς Mewdtywg, celebrated in the last 
third of the month Anthesterion by all the citizens, with 
offerings of cattle, fruits, or cakes made into the shape of 
animals, according to the circumstances of the individual. 
See Smith’s Dict. of Gr. and Rom. Antiq. 

409. "Qatov.... ἀμελήσας, I was cooking a pudding for 
my kinsfolk, and neglected to cut it open. The γαστήρ of the 
ancient cookery was a sort of pudding or haggis. Dr. 
Johnson thus defines the haggis :— “A mess of meat, gen- 
erally pork, chopped and inclosed in a membrane. In 
Scotland it is commonly made in a sheep’s maw, of the en- 
trails of the same animal cut small with suet and spices.” 
Jn German it is called Magenwurst, stomach-sausage. 

417. καὶ τῶν ἄλλων ἀνοήτων. ἀνόητος is often used in the 

1983 


150 NOTES. 


sense of lascivious, licentious, and some understand it so 
here. But its more general meaning agrees better with the 
connection of the passage. Translate, and other follies. 
With regard to the habits described in the preceding lines, 
see above. “The philosopher Protagoras is said by Plotinus 
to have remained in the same position three days and two 
nights without eating or drinking. Similar things are re- 
lated of ancient Indian philosophers, and are not unknown 
among them at the present day. “It smells,” says Bothe, 
““ of the pseudo-philosophic squalor, which even commands 
abstinence from the gymnasia.” 

— 420-422. 2AIV.... παρέχοιμ᾽ ἄν, But so far as concerns 
a firm soul, and sleep-disturbtng care, and a sparing, hard- 
living, savory-supping belly, don’t trouble yourself; for as to 
these things, I’ll give you leave to hammer upon me as much 
as you please. ἐπιχαλχεύειν is a proverbial expression, as 
Wolf says, like the German, for a man who submits to any 
thing, “ Er lisst auf sich schmieden,” He lets them hammer 
upon him. 

424. To....tavti; This Chaos, and the Olouds, and the 
Tongue, these three. Chaos here means the expanse of the 
ether. The three divinities of the comic Socrates, then, are 
Ether, the Clouds, and the Tongue. “In all places of public 
resort in Athens,” says Mitchell, “wherever some half- 
dozen persons were collected together, there Socrates was 
to be found, putting or answering questions. On this prac- 
tice the duties of the ecclesia and the law-courts, which 
occupied so much of the time of other citizens, formed no 
drawback; for Socrates attended neither. He even ab- 
stained from what might have been still more naturally 
expected of him, that of committing his discourses to writ- 
ing..... In written communication, as the best exposition 
of his system has been explained, an uncertainty always 
attaches as to whether the mind of the reader has spontane- 
ously conformed to such communication, and in reality ap- 


NOTES. 141 


propriated it to itself, or whether, with the mere ocular 
apprehension of the words and: letters, a vain conceit is 
excited in the mind that it understands what it does not un- 
derstand; on the contrary, a sentence orally delivered may 
always be supported, as Plato observes, by its father, and 
receive his protection, and that not only against the objec- 
tions of one who thinks otherwise, but also against the 
intellectual stubbornness of one as yet ignorant, while the 
written sentence has no answer to make to any further in- 
quiries. It is evidently, therefore, not without reason that 
the Tongue is ranked by Aristophanes among the divinities 
of Socrates.” 

430. Tov.... ἄριστον, That I may be the best of all the 
Greeks in speaking, by a hundred stadia, or, That I may go 
a hundred stadia beyond all the Greeks in speaking. In the 
Frogs occurs a similar ludicrous expression, “ Εὐριπίδου 
πλεῖν ἢ σταδίῳ λαλίστερα, More than a stadium more loqua- 
cious than Euripides.” 

431, 432. wore... . σύ, so that from this time henceforth 
no man shall carry more points before the people than you. 
γνώμη; in the popular assembly, an opinion, a resolution, or 
proposition. νικᾷν is constructed with the accusative of all 
such words as γνώμη and ψήφισμα, signifying to get them 
carried or passed. Soph. Gr. Gr., § 184, N. 1. 

433, 434. My.... διολισθεῖν. Strepsiades does not care 
about the public affairs. He does not wish to become an 
orator, and to cheat the ecclesia, — which was what the dis- 
ciples of the sophists generally aimed at, — but only to twist 
the proceedings of the courts of law so as to slip out of the 
clutches of his creditors. This is the art he would learn 
from Socrates. γνώμας μεγάλας, great counsels, or public 
harangues, popular measures. 

435. μεγάλων. ‘The Chorus uses this word, making a 
passing allusion to μεγάλας, just preceding. 

Strepsiades now intrusts himself to the hands of the at« 


152 NOTES. 


tendants, urged to this final commitment of himself by the 
recollection of the koppa-horses and his Ccesyrafied wife. 
He is instantly seized with another fit of inspiration, which 
shows that he has not become a convert to the Tongue- 
divinity in vain. It is difficult for any modern language to 
keep pace with the volubility of the Greek, as its comic 
slang comes from the lips of Strepsiades. 

439. χρήσθων, for χρήσθωσαν, let them use, let them do with 
me what they please. ) 

441. Παρέχω τύπτειν. The idiom is the same as in Eng- 
lish, 7 give them my body to beat. 

442. ἀσκὸν Saige, to curry for leather. For the con- 
struciion, see Soph. Gr. Gr., 8 185. 

445-451. Θρασύς, impudent. — εὔγλωττος, nimble-tongued. 
— τολμηρός, audacious. — ἴτης, from εἶμι, one who ts ready 
to go all lengths, reckless. — βδελυρός, shameless. — wevdav 
συγκολλητής, gluer of lies, falsehood-tinker. — εὑρησιεπής, 
word-finder. — περίτριμμα δικῶν, one experienced in lawsuits, 
a pettifogger, a dabbler in the law. — κύρβις, properly a tri- 
angular, pyramidal column, on which laws were published, 
a law-column, or, in modern phraseology, ὦ code ; the spirit 
of it may be given by the phrase, a walking code, or a liv- 
ing law-book. — χρόταλον, a ratile. — χίναδος, a fox; it is 
unnecessary to remind the reader, that that great luminary 
of the law, the father of Mr. Samson and Miss Sally Brass, 
was called Foxey, which is an exact equivalent of the pres- 
ent Greek word. — tevpy, properly, a hole worn through any 
thing ; here it means nearly the same as περίτριμμα, a cun- 
ning fellow, a sharper.— μάσθλης, a pliant thong, hence, a 
sly-boots, a leathery chap. — εἴρων, a dissembler, a quizzer.— 
γλοιός, properly the oil used in the palestras and baths; of 
course it means here a smooth, slippery fellow; the readers 
of “Ten Thousand a Year” will remember the significant 
name of Oily Gammon, Esq.— ἀλαζών, a braggadocio.— 
κέντρων, a rogue who bears the marks of the κέντρον, a scape- 


NOTES. 153 


gallows. — μιαρός, a reprobate. — στρόφις, a wriggler.— 
ἀργαλέος, a hard character, in the cant of the day, a hard 
customer. — ματτυολοιχός, compounded of ματτύα, a dish of 
poultry dressed with herbs, and λείχω, to lick, a lick-spit ; it 
implies greediness and impudence. According to Schiitz, it 
means an impudent fellow, who partakes of the feast with- 
out paying scot. 

453. Jowrtwr, Attic for Joatacar. 

455. χορδήν, a sausage, or roasted entrails, such as made 
a part of the Homeric feasts, and is not unknown at the 
present day at the tables of the Klephts, those modern rep 
resentatives of the Homeric chiefs and heroes. Mr. Urqu- 
hart, ia his entertaining book on the East, had the honor of . 
partaking of a feast with a noted Klepht, Captain Demos, 
which would have been highly relished by Ajax or Achilles. 
“ A small round table was brought in and set upon the 
ground, and the guests hurtled round it as close as they 
COUN x sts: αὶ Presently a Palicar came running with a 
ramrod, on which had been entwined the choice entrails of 
the sheep, hot and fizzing from the fire, and, running round 
the table, discharged about the length of a cartridge of the 
garnishing of the ramrod on the bread before each guest.” 
The rest of the feast was equally classical. Captain Demos 
by “a single blow then severed the spine, and the weapon, 
passing between the ribs, separated in an instant the animal 
into two parts. ‘Two ribs, with the vertebra attached to 
them, were then separated, and also placed before me. 
This is the mode by which honor is shown to a guest; and, 
no doubt, in the selfsame manner did Achilles lay before 
Ulysses the sacred chine.”— Vol. I. p. 270. To the expe- 
rience of Mr. Urquhart, 1 may add my own. It was my 
good fortune in 1853 to partake of a Klephtic entertain- 
ment at Thermopyle, with ten or a dozen men, some of 
whom had been Klephts on Mt. Olympus in the war of the 
Greek Revolution. After the feast, they sang a number 


154 ἱ NOTES. 


of Klephtic songs, with great spirit. The whole speech 
of Strepsiades applies admirably to the ancient demagogue, 
but its application is by no means confined to the “ fierce 
democratie” of Athens. 

470-475. Πουλομένους .... cov. There is a difficulty in 
the construction of this sentence. Mitchell, quoting from 
another, translates, Worth many talents to your mind, i. e. 
(by a complimentary periphrasis) Zo you, matters that will 
bring you in many talents. Brunck renders, “ Atque com- 
municare tue solertiz negotia et lites multis talentis ezsti- 
matas, de quibus- consultabunt tecum.” Schiitz says, am 
“ Πράγματα καντιγραφάς, intelligendum in causis publicis de 
accusatoris et defensoris libellis, in privatis autem litibus de 
petitoris et ejus unde petitur actionibus et exceptionibus. 
πολλῶν ταλάντων sunt quicum ἄξια construant. Ego vero 
malim cum Berglero, cui nuper etiam Wolfius obsecutus 
est, ἄξια cum σῇ φρενί conjungere. Sic in Acharn. 8 ἄξιον 
τῇ ᾿Ελλάδι, ib. 204, τῇ πόλει γὰρ ἄξιον. Totam igitur Chori 
sententiam sie reddiderim: /ta ut multi ganuam tuam sem- 
per obsideant, tecum communicare et collogui volentes, ac 
vel de publicis causis vel de civilibus actionibus, multorum 
talentorum negotiis dignis, in quibus ingenium tuum exer- 
ceas, tecum deliberare, te consulere cupientes.” Translate 
πράγματα κἀντιγραφάς, sutts or actions, and defences or rep- 
lications ; πολλῶν ταλάντων, of many talents, that is, involv- 
ing many talents; ἄξια σῇ φρενί, i. 6. ἀξίως, as ts. suitable to 
your genius, or worth while for your abilities. Mr. Wheel- 
wright interprets it thus : — 

“How many will continual session keep, 
All anxious to consult and get a word 
Upon their cases and the issues joined 
Worth many a talent’s fee, for thy opinion.” 

476. 2410, x. τ. Δ. The Chorus turns to Socrates. 

477. Svaxiver, stir up. Socrates now proceeds to test the 
old man’s intellectual properties. 


NOTES. 155 


478-481. “Aye... . θεών; Socrates wishes to know 
something about the character of Strepsiades, that he may 
proceed to apply new arts, or contrivances, to unfold the 
philosophical element, .if there be any in his character. 
But the word μηχανή means also an engine of war, and 
προσφέρω, to apply, also signifies to bring up (the engines) 
against. Strepsiades understood Socrates in the latter 
sense, and replies, “But what! do you mean to batter me 
like a walled town?” 

487. Agew.... ἔνι. Some of the commentators, think- 
ing the joke here is not good enough for Aristophanes, have 
proposed to read ἀπολέγειν for ἀποστερεῖν, making a contrast 
between λέγειν and ἀπολέγειν, like that between to say and to 
unsay. The meaning is, J have not eloquence by nature, but 
7 have (the most important element in the character of the 
demagogue and sophist) an abstracting disposition. Wie- 
land translates, — “ Soer. Bist du zum reden von Natur 
geschickt? Streps. .Zum reden nicht; doch desto mehr 
zum rapsen.” ‘The point may be retained thus : — 


Socrates. Hast thou by nature got the gift o’ the gab ? 
Strepsiades. 'That’s not my gift; my nature is to grab. 


489, 490. “Aye... . ὑφαρπάσει. Socrates again uses lan- 
guage liable to be misunderstood by a rustic like Strep- 
siades. προβάλλω has the double meaning of to throw before 
or to, as to throw to a dog, and to propound. ὑφαρπάζω has 
the corresponding double meaning of to snatch up, like a 
dog snatching a morsel from his master’s hand, and to ap- 
prehend quickly. It is unnecessary to remark, that Strep- 
siades understands both words in the physical sense. For 
ὅπως with indic. fut., see Kiihner, Gr. Gr., § 330, R. 4. 

-491. Ti δαί; Lhe particle δαί gives a tone of surprise to 
the question, What now! or Hey-day! See Kiihner, Gr 
Gr., § 316, 7.. 

495, 496. Κάπειτ᾽ .... δικάζομαι. “The plaintiff sum 


156 NOTES. 


moned the defendant to appear..... The summons was 
given in the presence of one or more witnesses. Arrest 
was not allowed in civil actions, except in the case of for 
eigners who might suddenly quit the city. The defendant 
could not appear by attorney, nor was appearance a mere 
form, as with us, by entry in a court book. He was obliged 
to attend in person before the archon to answer the charge 
made against him. If he did not attend, and the plaintiff 
could prove that he had been duly summoned, he suffered 
judgment by default, ἐρήμην ὠφλε. Kennedy’s Demos- 
thenes, pp. 146, 147. ἐπιμαρτύρομαι refers to the first step, 
the calling of witnesses to be present at the summons, and 
δικάζομαι. to the actual commencing of the action before the 
magistrate or in court. | 

497. χατάθου θοἰμάτιον, put down your cloak. Vither 
Socrates alludes to some of the ceremonies of initiation 
into the Mysteries, or he means to reduce Strepsiades to the 
condition of the other disciples in the Phrontistery, who 
were not allowed to wear the ἱμάτιον, but only the short 
philosophic cloak, and who went barefoot. One expiana- 
tion, also, is, that Socrates wanted his pupil to lay aside his 
cloak, that he might get possession of it for his own pur- 
poses, — as Mr. Squeers appropriated to the use of Master 
Wackford the shoes and jackets that were sent up to York- 
shire for the benefit of the scholars at Dotheboys Hall. — 
᾿Ηδίχηκά τι; Strepsiades, misunderstanding the object of 
his master’s direction, can think of no other reason for 
throwing off his cloak except to receive a thrashing. He 
asks, therefore, Have I done any wrong ? 

498. aida... . νομίζεται, but it is the custom to enter un- 
cloaked. γυμνός means frequently, not raked, but only with- 
out the upper robe. Sophocles is described by Athenzus 
(Lib. I. 20, 6) as dancing round the trophy, after the sea- 
fight of Salamis, γυμνός, that is, with only the χιτών or close 
fitting tunic on. : 


NOTES. 157 


499. ‘Adv... . εἰσέρχομαι, But I'm not going in to 
search the house for stolen goods. Upon this the scholiast 
remarks, — It was the custom for persons, entering any- 
body’s house for the purpose of searching, to go in un- 
cloaked (γυμνούς), to prevent their hiding any thing they 
found under their own cloaks, or the cloak of another, to 
get him into trouble.” 

503. τὴν. φύσιν. Socrates means in character; Strep- 
siades understands him, zz figure. 

505. Ov μή. The negative with the future indicative, 
used interrogatively to express a command. For two nega- 
tives, see Kiihner, Gr. Gr., § 255, 4, with the examples. 

506. ᾿“νύσας τ. An Attic idiom, meaning quickly, 
nimbly. 

507. μελιτοῦτταν, the honeyed cake. 

508. ὥσπερ εἰς Τροφωνίου, as if to the cave of Tropho- 
nius ; alluding to the famous cave and oracle of Tropho- 
nius, at Lebadea in Beotia. <A scholiast, after describing 
some of the ceremonies performed by those who visited the 
cave, adds, “ And as they are met by demons, and serpents, 
and other reptiles, they carry cakes which they throw to 
them.” Wordsworth (Pictorial Greece, pp. 24, 25) says, — 
“ Before it [the stream Hercyna] arrives at the city of Leb- 
adea, it passes through a dark and rocky ravine, which 
seems to recommend itself by the gloominess of its groves, 
and the frowning heights of the crags which overshadow it, 
as a place peculiarly favorable for the exercise of the influ- 
ence of a mysterious and awful mythology. As such it was 
chosen for the seat of the oracle of the Beotian hero, Tro- 
phonius. He delivered his responses to the inquirer at his 
shrine, in the hall of a dark, subterranean cave, which was 
on the left side of this stream, and beneath these lofty rocks. 
Thither the worshipper descended, after having undergone 
a rigid discipline of religious preparation, under circum- 
stances well fitted to inspire him with that devotional dread 

14 


158 NOTES. 


which was necessary to render him a fit object for the recep- 
tion of the oracular influence supplied to his imagination 
by the strange sights, and mysterious voices, and unearthly 
terrors of this dark place.” 

The place where the Hercyna emerges from the rocky 
gorges, is one of the wildest in Greece: but the precise posi- 
tion of the cave of Trophonius cannot now be ascertained ; 
the whole region is well suited to the performance of mys- 
terious and terrific rites. 

Strepsiades is still reluctant to enter the subterranean 
abode of the philosophers. Socrates urges him forward, 
and the Chorus strike in, bidding him god-speed. 

509. τί. . . . ἔχων, an idiom already explained, why, how, 
or what ἐξ the matter with you that? See note to 1. 340 
and 1. 402. “Strepsiades advances to the steps, looks down, 
and draws back. ‘The hard faces of his usurious creditors, 
however, meet him on his return, and he advances again to 
the little mansion, ducks his head, and is again withdrawing, 
when Socrates, taking him by the neck, pushes him down.” 
— Mitchell. 

518, seqq. This passage forms what is technically called 
a parabasis, that is, the Chorus come forward, during a 
pause in the action of the piece, and address the spectators 
directly, in the name of the poet, upon any subject which 
may or may not be connected with the passing drama. 
“Sometimes,” says Schlegel, “he [the poet] enlarges on his 
own merits, and ridicules the pretensions of his rivals; at 
other times he avails himself of his rights as an Athenian 
citizen, to deliver, in every assembly of the people, propo- 
sals of a serious or ludicrous nature for the public good. 
The parabasis may, strictly speaking, be considered as 
repugnant to the essence of dramatic representation ; for in 
the drama the poet should disappear behind the characters ; 
and these characters ought to discourse and act as if they 
were alone, and without any perceptible reference to the 


“NOTES. 159 


spectators. All tragical impressions are, therefore, by such 
intermixtures infallibly destroyed ; but these intentional in- 
terruptions or tntermezzos, though even more serious in 
themselves than the subject of the representation, are hailed 
with welcome in the comic tone, as we are then unwilling to 
submit to the constraint of an employment of the mind, 
which, by continuance, assumes the appearance of labor. 
The parabasis may have owed its invention partly to the 
circumstance of the comic poets not having such ample 
materials as the tragic, to fill up the intervals of the action, 
when the stage was empty, by affecting and inspired poetry. 
But it is consistent with the essence of the old comedy, 
where not merely the subject,’ but the whole action, was 
sportive and jocular. The unlimited dominion of fun is evi- 
dent even in this, that the dramatic form itself is not seri- 
ously adhered to, and that its laws are often suspended; as 
in a droll disguise we sometimes venture to lay aside the 
mask.” 

This parabasis is valuable for the information it gives us, 
directly or indirectly, not only upon the early dramatic 
career of Aristophanes, but upon the early history of Greek 
Comedy in general. It is also remarkable for the manner 
in which the Chorus, giving utterance to strains of high 
lyric poetry, return from the comic play to the more serious 
purposes for which the Chorus was commonly used. 

519. τὸν ἐκθρέψαντά pe. The poet speaks of Dionysus 
having nurtured him, because the dramatic contests took 
place at the Dionysiac festival, and Aristophanes had been 
from his early youth a cultivator of the dramatic art. 

520. vixyjoumt.... νομιζοίμην. The different tenses of 
the verbs here in the optative offer a good illustration of the 
fundamental difference between the aorist and present in the 
oblique moods generally. By a well-known idiom, admira- 
bly explained by Kiihner, Gr. Gr., § 256, 4, (b), the aorist 
is sometimes used in a frequentative or habitual sense. It 


100 NOTES. 


describes, however, not only what is habitual, but what uni- 
versally and necessarily happens. ‘To borrow the words of 
another, —“'The famous passage from the beginning of 
Longinus furnishes one of the best instances of this pecu 
liarity : ‘’Ywos δέ πον καιρίως ἐξενεχθὲν πάντα δίκην σχηπτοῦ 
διεφόρησεν, The sublime, when seasonably introduced, like 
a thunderbolt, SCATTERS Or DISPERSES every thing before tt.’ 
That is, it does so in every instance. Whenever the cause, 
then instantaneously the effect. It never fails in any one 
single case. Thus this instantaneous, unfailing effect in every 
or any one single operation most admirably and intensely 
represents the general unfailing property, or what is always 
true of any thing or any power at any or every mo- 
ment in which it acts; whilst at the same time the radical 
idea of the aorist as momentary, or without any reference 
in itself to continuity of time, is most strikingly pre- 
served.” 

This idiom doubtless originated in the peculiar vivacity 
of the Hellenic mode of conceiving of actions and events. 
Instead of stating a thing as frequently, or habitually, or 
necessarily happening, the Greek often pictures to himself 
a single instance, describes it as actually finished, and lets it 
stand for the whole idea. ‘This may be well illustrated by 
the following lines from Homer, II. III. 83-35 : — 


Ὡς δ᾽ ὅτε τίς τε δράκοντα ἰδὼν παλίνορσος ἀπέστη 
Οὔρεος ἐν βήσσῃς, ὑπό τε τρόμος ἔλλαβε γυῖα, 
ἊΨ T ἀνεχώρησεν, ὦχρός τέ μιν εἷλε παρειάς " 


As when a man, having seen a serpent, springing back, stands off, (or © 
recoils), 

In the gorges of a mountain, and tremor takes hold of his limbs, 

And he goes back again, and paleness seizes on his cheeks. 


The poet is here comparing the terror of Paris at the sight 
of Menelaus to the fright of a traveller who suddenly comes 
upon a serpent in a mountain-pass ; but while picturing to 


NOTES. 161 


himself the scene, he makes it a reality, and tells the story 
as if he had witnessed it with his own eyes: the traveller 
recoiled from the serpent; the tremor tock hold of his 
limbs; he went back, and paleness seized on his cheeks. 

The picturesque mode of describing here illustrated finally 
became an established idiom of the language, called the 
use of the aorist (and sometimes the perfect) in a frequenta- 
tive or habitual sense; a sense radically different from that 
of the continuous, frequentative, or habitual present, though 
both are often translated in the same way, on account of 
the less plastic and imaginative forms of the modern lan- 
guages. 

It is quite obvious from the foregoing analysis, that the 
idiom in question cannot extend to the oblique moods, the 
“fundamental conception being of an event that has actually 
happened, without dependence, condition, or contingency ; 
and the continued, or habitual, or necessary recurrence of 
the event being an induction, as it were, from the single 
instance actually expressed by the tense. In the oblique 
moods the aorist always signifies momentary or completed 
action, and the present tense implies duration of time, or 
habitual or frequent action. This distinction between the 
indicative and the other moods in regard to the frequenta- 
tive aorist is taken for granted, though not stated in express 
terms, by most of the grammarians. See Buttmann, pp. 
379-383; Matthie, pp. 842-846; Kiihner, pp. 344-346; 
Soph. Gr. Gr., § 211, n. 2. 

But the limitation is pointedly recognized by Madvig in 
his Greek Syntax (Syntax der Griechischen Sprache be- 
sonders der Attischen Sprachform, von Dr. J. N. Madvig, 
1847). In treating the Moods, Madvig gives first a general 
description of each, and under that head, in every case, ex- 
plains with singular clearness and precision the fundamental 
idea and idiomatic usages of each tense. The frequentative 
aorist is limited to the indicative mood ; his peculiar arrange. 

14* 


162 “NOTES. 


ment making it necessary distinctly to recognize the limita- 
tion of the usage, by placing it under the indicative, where 
it belongs by the laws of thought, and omitting it where it 
cannot belong, under the conjunctive, optative, imperative, 
and the participle. See p. 110; also, pp. 131, 144, 154, 
188, 208. See also Crosby, Gr. Gr., § 575, 2. 

One of the examples given by Kiihner, from Xen. Cyr. 
1, 2, 2, is, —“Ai μὲν γὰρ πλεῖσται πόλεις προστάττουσι τοῖς 
πολίταις μὴ κλέπτειν, μὴ ἁρπάζειν, καὶ τἄλλα τὰ τοιαῦτα ὡσαύ- 
Tog: ἢν δέ τις τούτων τι παραβαίνῃ, ζημίας αὐτοῖς ἐπέθεσαν. 
For most cities enjoin upon their citizens not to steal, not to 
rob, and other such things in like manner ; but if any one 
transgress any of these commands, they ATTACH penalties to 
them.” Tere ἐπέθεσαν, by the idiom above illustrated, de- 
scribes the customary course of states with regard to the 
prevention of crimes. But in the same sentence the words 
which in the other moods express customary or frequent 
action, or action in the most general form, namely, κλέπτειν, 
ἁρπάζειν, παραβαίνῃ, are in the present tense. 

The language of Buttmann and Kiihner, in explaining a 
particular usage of the optative mood, can hardly be sup- 
posed to prove that the aortst, in the oblique moods, has a 
frequentative sense. If such a mistake should be made, it 
would be from the accidental circumstance, that, in some of 
the examples of the use of the optative mood in sentences 
which describe repeated acts, the tense happens to be the 
aorist. But neither the mood nor the tense has any proper 
frequentative sense of the kind just explained, as a mo- 
ment’s analysis will show; though Buttmann (Gr. Gr., 
§ 139, n. 6, p. 889) somewhat loosely says,— “A further 
and special use of the optative is when it stands in the pro- 
tasis, instead of the indicative of past time, to express 
something which took place repeatedly or customarily. EK. g. 
Οὺς μὲν ἴδ οι εὐτάκτως καὶ σιωπῇ ἰόντας, προσελαύνων αὐτοῖς 
οἵτινες εἶεν ἠρώτα, καὶ ἐπεὶ πύθοιτο... - ἐπήνει. Whom 


ἃ NOTES. 163 


ever he saw, i. e. so often as he saw any,” &c. The passage 
is from a description of a review of an army on a march. 
The commander rode about among the ranks, and, having 
inquired the names of those whom he observed to be silent 
and orderly, praised them. The sentences are in a relative 
construction, and therefore an oblique mood is employed ; 
but the verbs themselves, not being intended to express a fre- 
quent or customary act, are put in the aorist tense. The 
optative aorists ἴδοι and πύθοιτο describe respectively a 
single and completed act of seeing and ascertaining; the 
time of the respective acts being indefinite. The idea of 
repetition results from the dependent character of the whole 
sentence, and from the continued action expressed by the 
imperfects ἠρώτα and ἐπήνει. This is very clearly explained 
by Madvig, pp. 181, 148. Were the present tense used in 
these clauses, the meaning would be different. The writer, 
of course, does not intend to say, “ Whomsoever he _fre- 
quently, or customarily, or always saw advancing in good 
order and silence, riding up to them, he asked who they 
were, and when he had frequently or customarily ascertained 
their names,” &c. 

The principle intended to be substantiated by these re- 
marks, namely, that the oblique moods and the participle in 
the aorist are not, IN THEMSELVES, used in a frequentative 
sense, but, if ever apparently so used, the frequentative tdea 
results from the indefinite and dependent construction of the 
sentence, or from the addition of a frequentative adverb, has 
been assumed by Coray in his notes to Isocrates (Vol. II. 
p- 34), and explicitly laid down and enforced by Bremi 
(Isocrates, § 31, p. 32). . 

To make this matter clear, it will be necessary to con- 
sider the passage in Isocrates in some detail. The author 
of the Panegyricus has been speaking of the ancient ser- 
vices rendered by Athens to the other Greek states; “as a 
memorial of which,” he goes on to say, “the most of the 


164 NOTES. 


cities send annually to us the first-fruits of the earth; and 
the Pythia has often enjoined upon those who omit this,” 
&ec. Those who omit is expressed by the usual participial 
construction, and the question with Coray was, whether it 
should be the aorist ἐκλιπούσαις, as More conjectured, or the 
present ἐχλειπούσαις. The whole clause is ταῖς δ᾽ ἐχλειπούσαις 
(or ἐκλιπούσαις) πολλάκις ἡ Πυθία προδέταξεν ἀποφέρειν, &e. 3 
upon-which Coray has this note : —“’Eziemovoas | ᾿Ορθῶς 
ἔχει τὸ κατὰ παράτασιν, διὰ τὸ ἐπιφερόμενον, Πολλάκις " διὸ οὐ 
τρεπτέον αὐτὸ εἰς τὸ ἀοριστούμενον, ᾿Εχλιπούσαις, ὡς εἴκασάν 
τινες. That 15, --- “The form significant of continuation is 
correct on account of the following πολλάκις ; wherefore it 
ought not to be changed into the aorist, ἐκλιπούσαις, as some 
have supposed.” Coray means, that, on. account of the 
duration implied by the frequent commands of the priestess 
at Delphi (πολλάκις προσέταξεν), the participle which de- 
scribes the act or acts that occasioned the commands should 
have a corresponding duration. ‘The aorist participle does 
not convey the idea of repetition or duration, but the pres- 
ent does ; therefore the present is correct. 

Bremi adopts this view. He says, after giving the con- 
jecture of More, — “Sed subtilis est et vera Corazi ani- 
madversio, propter πολλάκις preesens positum esse, quum res 
seepius facta notetur. Nempe aoristus participit et modi 
obliqui una de re nec adjecto adverbio, quod repetitionis 
notionem habet, ponitur.” In stating the principle of Coray, 
Bremi has added, to prevent all misapprehension, and to 
make the meaning entirely clear, the natural qualification, 
unless a frequentative adverb is joined to the participle. 
Tor the negative ablative absolute of accompaniment, nee 
adjecto adverbio, &c., contains the necessary limitation 
of the principle deduced from Coray’s remark. The ob- 
servation of Bremi is, —“'The remark of Coray is acute 
and correct, that, on account of πολλάκις, the present is used 
when the repetition of an act is to be noted; that is to say, 


NOTES. 165 


the aorist of the participle and oblique mood ts used of a 
single act, unless an adverb is added which has the idea of 
repetition.” 

To return from this long digression, let us apply the prin- 
ciple to the words now under consideration. The poet uses 
ψιχήσαιμι, the aorist optative, because he refers to his hopes 
of victory in a single case, una de re,i.e.in the present 
dramatic representation; but in the same sentence he em- 
ploys the present optative, νομιζοίμην, because duration of 
time, not a single moment or one act, is to be expressed, — 
the continuance of his fame as a poet. 

[Since the preceding note was written, a striking example 
of the gnomic aorist infinitive in oratio obliqua has been 
pointed out in Soph. Aj. 1082; to which may be added an- 
other in Plat. Pheedr. 232 B, and one of the participle in 
Thuc. VI. 16.] 

520. σοφός, skilful, a master of my art. 

522. Kai .... κωμῳφδιῶν, Ard that this rs the best of my 
comedies. σοφώτατ᾽ ἔχειν, equivalent to σοφωτάτην εἶναι. 

523. ἀναγεῦσ᾽, to cause to taste, to let taste. | 

524, 525. εἴτ᾽ .... ὦν. The poet here alludes to his fail- 
ure to gain the prize at the first representation of the 
Clouds. There is some doubt whether ἀνδρῶν φορτιχῶν 
means the theatrical judges who decided against him, or the 
rivals whose performances were preferred to his. The 
scholiasts, Ernesti, Schiitz, and Bothe, understand the 
former; Mitchell, the latter.’ Schiitz says, — “ ἄνδρες 
φορτικοί sunt qui de vera poématum venustate recte judi- 
care nequeunt, quum sint imperiti, ac pingui ingenio.” 
Mitchell’s opinion is, “that the poet’s rivals are thus con- 
temptuously characterized, even though one of those rivals 
was the illustrious Cratinus.” In confirmation he quotes 
from Dobree’s Adversaria, —“ Οἱ φορτικοί erant Aristo- 
phanis rivales, a parcel of buffoons?’ The use of the 
preposition ὑπό, though not conclusive, seems rather to fix it 
upon the judges; if the sense were conquered by, ἡττηθείς 


106 NOTES. 


would be constructed commonly with a genitive, his rivals 
being referred to. Translate, Then I came off, defeated by 
the judgment of vulgar fellows, when I deserved it not. 'Vhis 
construction agrees sufficiently well with what follows. 
Kock refers φορτικῶν to Ameipsias and Cratinus, the rivals 
of Aristophanes. 

526. ταῦτ᾽ ἐπραγματευόμην, I expended this labor. 

527. προδώσω, will despair of, or literally, will give up. 

528. οἷς « .«.. λέγειν. Bergler; “quibus libenter probo 
studium meum et eloquentiam.” <A scholiast, “ οἷς ἐπιδείκνυ- 
σθαι ἡδύ ἐστιν. Schiitz, “quorum vel conspectu et collo- 
guio frut dulce est.” Mitchell, “with whom even to hold 
converse is a delight.” Wieland, “zu welchen nur zureden 
schon Vergniigen ist, merely to speak to whom ts a delight.” 
Bothe rejects all these and says,—“quibus etiam dicere 
suave est, h. e. qui etiam eloquentia delectamini, non solum 
artibus bellicis quibus nune ut cum maxime studetis. Utra- 
que laude poetz ornare solent spectatores. Plaut. Capt. 
prol. 67, Valete, judices justissimt domi, bellique duellatores 
optimi. λέγειν, τὸ λέγειν, ut Eq. 329, ἰδοὺ λέγειν, specta elo- 
quentiam.”  Bergler and the scholiast are probably correct. 
Bothe’s explanation is less probable. Kock thinks the text 
corrupt. 

529. “O σώφρων te yo καταπύγων. Alluding to his earli- 
est play, in which were these two characters, “the Virtu- 
ous” and “the Vicious.” Fragments of this play are all 
that remain. Its title was Ζαιταλεῖς, The Revellers. 

530. παρθένος. We use a similar figure when we speak 
of an orator, on his first appearance, delivering his maiden 
speech. Aristophanes is supposed to have been about nine- 
teen at the time here referred to. According to the scho- 
liast, the legal age at which the poet might come forward 
personally was forty years, or, he adds, “as some say, 
thirty ;” but on the’ subject of the legal limitation of age 
with dramatic poets, it is not easy to come to a satisfactery 


NOTES. 167 


conclusion. The scholiast above alluded to has probably 
confounded the laws concerning the 6itogeg with those that 
regulated actors. The scholiast on the Frogs (1. 502) states 
that when the poet first engaged in comedy he was σχεδὸν 
μειρακίσκος, and the author of the article on Aristophanes in 
the Dictionary of Greek and Roman Biography assumes, 
on the strength of this authority, the year B. C. 444 as the 
date of his birth, which would make him seventeen years 
old at the time of the representation of the Ζ.αιταλεῖς, B. C. 
427. The assumption of the scholiast, that forty, or even 
thirty, was the legal age of dramatic poets, is contradicted 
by the fact, cited by Boeckh (Gree. Tragic Princip., p. 103) 
and by Clinton (Fasti Hellenici, Vol. 11. pp. ὅδ, 59), that 
ZEschylus, Sophocles, Euripides, and Agathon appeared as 
dramatic authors at a much earlier age. , 

The first representation of the Clouds, at which Cratinus 
gained the first prize, and Ameipsis the second, was B. C. 
423, Aristophanes having attained the age of twenty-one. 
The second representation, in which he was unsuccessful, 
took place probably the next year, though placed by Ranke 
twelve years later, B. C. 411. If Ranke’s opinion is cor- 
rect, Aristophanes was now thirty-four years old. 

531. παῖς δ᾽ ἑτέρα. The figure is still kept up. The 
person alluded to was Callistratus or Philonides, both of 
whom were afterwards actors in the plays of Aristophanes. 

534, 5385. Νῦν .... σοφοῖς. Literally, Mow, therefore, 
this comedy has come, like that Electra, to seek if perchance it 
may meet with equally sagacious spectators. ‘The allusion 
is to the Choéphoroi of Aschylus, where Electra, going to 
visit the tomb of her father, discovers the return of her 
brother Orestes, by the color of the locks of hair which are 
found upon the tomb, as if consecrated by some visitor. In 
the comparison, therefore, Electra is the present comedy, 
thé brother, or Orestes, is the other comedy, which had 
been applauded by the audience; the present comedy has 


168 NOTES. 


come in search of its brother’s locks, that is, has come to 
see if it shall be received with equal applauses by an en- 
lightened public. — 76 will recognize, he proceeds, af τέ 
shall see it, a brother's locks ; that is, it will recognize the 
spectators to be as intelligent as those of the former comedy, 
—their brothers, as it were, —if it shall receive the same 
applause. 

537, seqq. In these lines the poet alludes to the indecent 
exhibitions of other dramatists to catch the applause of the 
groundlings. τοῖς παιδίοις ἕν᾽ 17 γέλως. It is said that the 
φάλλος was brought upon the stage in the Προσπάλτιοι of “ 
Eupolis. Such practices have been the bane of the theatre 
in every age, and have not yet ceased to desecrate its boards ; 
making it too often the corrupter of the morals of the 
young, instead of the mirror of manners and the purifier of 
the passions, by the representation of human characters 
under the varied vicissitudes of life. 

540. Οὐδ᾽ ἔσκωψε τοὺς φαλαχρούς, Nor derided the bald- 
headed. Mitchell thinks these words refer to something, 
which, for want of the works of contemporary writers, it 
is impossible to explain. Bergler thinks he is alluding jok- 
ingly to the baldness of Socrates. If the scholiast, as 
emended by Hermann, is to be received, Eupolis is satiri- 
cally aimed at, — 

τοὺς Ἱππέας 
Συνεποίησα τῷ φαλακρῷ τούτῳ, ---- 


I helped this bald-head (meaning Aristophanes) compose the 
Knights. — The Kogda& was a wanton dance, imported from 
Asia, sometimes introduced at the Dionysiac festivals. It 
occurs in the Wasps of Aristophanes himself, who was 
sometimes as little scrupulous as his rivals. 

541, 542. Οὐδὲ .. .. σκώμματα. The allusion here again. 
is obscure. According to a scholiast, there was a comic 
poet, Simermno, who introduced an old man with a staff, 


NOTES. 169 


with which he beat the persons around him, to raise a laugh 
and conceal the poverty of wit in his dialogue. This seems 
to be the understanding of Wieland,—“ um die plattesten 
Zoten gut dadurch zu machen, to make good thereby the 
stupidest bawdry.” ‘Translate, therefore, Vor does the old 
man who is speaking the verses beat the person near him 
with his staff, thus keeping out of sight wretched ribaldry. 

543. Οὐδ᾽... Bog. The poet is supposed by the scholi- 
ast to refer jestingly to his own representation of Strep- 
siades, who comes out with, torches to set fire to the phron- 
tistery at the close of the present comedy. But Siivern says 
(as quoted by Mitchell), — “I am convinced that the torch 
with which the school of subtilty is set on fire, and the cry, 
*Jov ἰού, of the disciple, at the close of the piece, are not to 
be considered as liable to the censure cast upon such ex- 
pressions in the parabasis, any more than the similar cries 
which occur also in other passages of the Clouds, the play 
itself beginning with ᾿]ού, or than the torches which are 
brought upon the stage in other dramas of Aristophanes. 
So in the Plutus (797, seqq.), where blame is cast upon 
the practice of throwing from the stage figs and pastry 
among the spectators, it cannot be supposed that Aris- 
tophanes meant to hold himself up to ridicule, when, in v. 
960, seqq., of the Peace, he makes Trygaios throw among 
the spectators his sacrificial barley-meal..... The passage 
in the parabasis of the Clouds is, like that in the Plutus, 
exclusively directed against other poets, who introduced out 
of the proper place, without rhyme or reason, practical 
jokes of this description; whilst Aristophanes used thein 
only when they helped on the action of the story, and were 
neither devoid of wit nor meaning.” 

545. ov κομῶ, am not proud, do not plume myself upon tt. 

549, 550. Ὃς .... κειμένῳ. The poet here alludes to 
his having introduced the demagogue, Cleon, into one of his 
plays (the Knights) by name. Translate, And I smote 

15 


170 NOTES. 


Cleon in the belly when he was greatest, but could rot bear to 
trample on him when he was down, that is, after his death. 
The poct contrasts the manner in which he dealt with the 
objects of his satire, and that practised by his rivals. He 
was constantly introducing new characters, while they, from 
poverty of invention, when they once got hold of an Hyper- 
bolus, never let him go. For a full account of Cleon, who 
makes a conspicuous figure in the Knights and the Wasps, 
see Thucydides, Lib. III.—V.; also, article Cleon, Dict. Gr. 
and Rom. Biog. Mr. Grote has attempted to defend the 
character of Cleon against the wit of Aristophanes, and 
the graver charges of Thucydides. 

552. χολετρῶσ᾽, trample under foot; a term borrowed 
from the palestra. The mother of Hyperbolus was fond of 
wine. 

558, 554, Maricas was the title, it seems, of a comedy 
of Eupolis, in which he introduced Hyperbolus, in imitation 
of the Knights of Aristophanes, “turning them,” as the 
poet says, “inside out.” 

555, 556. Προσθεὶς .... ἤσθιεν, Having added to τέ (the 
character of Maricas) a drunken old woman, for the sake of 
the cordax (for the sake of gratifying the vulgar tastes 
of the spectators with that indecent exhibition) whom 
Phrynichus long ago poetized, — whom the sea-monster 
tried to devour. Phrynichus had introduced into his play 
of “ Hypeuthynos” a drunken old woman, as a parody 
upon the story of Andromeda, which was often handled 
by the tragic poets and artists. ‘This comic character was 
probably represented as dancing the cordax for joy at her 
escape from the monster of the deep. 

559. Τὰς .... μιμούμενοι, Imitating my imagery of the 
eels. The poet here alludes to a passage in his Knights 
(807, Bothe’s edition,) where he compares demagogues to 
men catching eels; when the water is still, they catch noth- 
ing; but when it is stirred up, then they seize their prey. 


NOTES. 171 


50, in a quiet state of public affairs, the demagogue has 
nothing to gain; but in the midst of-disturbances he pros- 
pers. This comparison was much admired, and, it would 
seem, was often imitated. 

562. Eg... . δοχήσετε, In times to come you shall be 
thought to be wise. ‘The Chorus now strike off into a lyri- 
eal invocation of the gods; a piece of ingenious satire at 
the expense of the philosophers who denied the existence 
of the gods. Afterward they turn suddenly again and ad- 
dress the spectators. 

579. Aitweg.... ὑμᾶς, We who keep watch over you. — 
ἔξοδος, a military expedition. 

581-589. Εἴτα... -. τρέπειν. The poet is here satirizing 
the follies and absurdities of the Athenians in their manage- 
ment of public affairs. The leather-dressing Paphlagonian 
is of course Cleon, who is constantly branded with this nick- 
name in the Knights. The Paphlagonians were held in 
great contempt at Athens, either because many slaves were 
imported from Paphlagonia, or on account of the barbarism 
of the country. Low and base persons were designated by 
this name. ‘The time particularly alluded to here was when 
Cleon was appointed commander of the land forces to suc- 
ceed Nicias in the expedition against Pylos. At this time, 
it is said, there came on a heavy storm, which lasted 
through the night, and this is what the poet means when he 
speaks of the sun pulling in his wick, and the moon desert- 
ing her accustomed ways. It may be observed here, that 
the various allusions to Cleon show that this parabasis 
must have been composed at different times, partly before 
and partly after the death of the great demagogue. The 
δυσβουλία of the Athenians had become proverbial at a much 
earlier period than this, and was satirized even by Solon. 

591. δώρων... . κλοπῆς, having convicted of bribery and 
theft. édeiv is a technical term in Athenian law, as ἑλεῖν 


- 


172 NOTES. 


γραφήν, to gain a cause. The crime or subject of the action 
is put in the genitive. 

592. τῷ ξύλῳ, the wood. The ξύλον was a wooden collar 
or yoke, which was sometimes fastened upon the necks of 
slaves by way of punishment. 

595. ’Augi μοι αὖτε, Φοῖβ᾽ ἄναξ. This verse is constructed 
in imitation of the dithyrambic poets, whose compositions 
frequently began with these words; on this account, accord- 
ing to a scholiast, they were called Amphianactes. . “The 
vouog ὄρθιος of Terpander began, “Ayqi μοι avtig ἀναχθ 
᾿Εχατήβολον ἀδέτω a φρήν. Kock. It is a form of invo- 
cation, the verb being understood. This form of invocation 
was expressed by the verb ἀμφιαναχτίζειν. 

596,597. Κυνθίαν .... πέτραν, holding the Cynthian 
high-horned rock. On the island of Delos there was a hill 
called Cynthus, rising over the city and the temple of 
Apollo. It is lofty and precipitous, with hornlike peaks, 
which suggested the epithet ὑψιχέρατα. 

599, 600. Artemis is next invoked, and the all-golden 
house of course is the well-known temple of Artemis at 
Ephesus, — memorable, besides other things, for being men- 
tioned in the New Testament. 

602. Atyidog ἡνίοχος, Rein-holder of the egis. A bold 
lyrical expression for wielder of the egis. 

603, seqq. The poet alludes to the orgies of the Bac- 
chanals on one of the peaks of Parnassus. The fable of 
the introduction of the Dionysiac worship is most strik- 
ingly exhibited by Euripides in the Bacchi. 

607, seqq. The Chorus again turn to the spectators. 

609. Πρῶτα .. . . ξυμμάχοις, First to greet the Athenians 
and their allies. ‘The principal representation of the dra- 
matic pieces took place in the spring, when Athens was 
crowded with visitors from allied and foreign nations, — 
indeed, from every part of the civilized world. 


NOTES. 173 


612. Πρῶτα... . δραχμήν, ---- constructed with ὠφελοῦσ᾽, 
— In the first place, benefiting you (that is, saving you) no 
less than a drachm a month for torches. 'The good citizens 
of Athens were lighted in their nocturnal rambles by 
torches carried before them by boys —like the link-boys in 
Shakspeare’s time in London. 

615, seqq. In these lines the moon is. represented as 
complaininggof ill-treatment, because, through some mis- 
management of the Athenians in the arrangement of their 
festival days, the gods were disappointed of their feast at 
the regularly appointed time, and had to return home sup- 
perless, which made them angry with the moon. Whether 
the moon’s complaint against the Athenians turned upon 
their varying the festivals so as to keep them in the same 
season of the year by changing the days of the month on 
which they were held, or upon the festivals gradually pass- 
ing from their appropriate season to another, so that the 
summer festivals would fall upon the autumn, and the au- 
tumn upon winter, and so on, does not seem very clearly 
intimated. But it is certain that about this time the Attic 
calendar had fallen into great confusion. The Attic year 
was reckoned by lunar months; and the discrepancy be- 
tween the lunar and solar year, even with the corrections 
of the calendar of Cleostratus, had become very considera- 
ble. To remedy this, the mathematician Meton devised 
this plan. He discovered that 235 lunar months corre- 
spond, with a slight difference, to 19 solar years. He there- 
fore formed the cycle of 19 years, consisting of 6,940 days, 
which he distributed into months in such a manner as to 
make them correspond, in the whole period, to the changes 
of the moon. This was the famous “ Year of Meton,’ — 
ἐννεαχαιδεχαἑετηρίς. On this basis he founded his calendar, 
and re-arranged the months and festivals of the Attic year. 
The epoch of his calendar was, according to Hoffmann (Al- 
terthums- Wissenschaft, p. 350), the thirteenth of Scirophos 

Το 


174 NOTES. 


rion, in the fourth year of the 87th Olympiad, or B. C. 482. 
Wieland, as quoted by Bothe, says that “the poet is here - 
satirizing Meton, who had a little before invented the 
Metonice Cycle of 19 years, for the purpose of adjusting the 
lunar to the solar year, and correcting the festive days. 
But it so happened, that days which had formerly been 
sacred now became profane, and vice versé, which seems to 
have displeased many, and to have given an opportunity for 
our poet to exercise his comic genius, which he is always 
most happy to seize upon. Perhaps among those who 
favored Meton and the new calendar, Hyperbolus took the 
lead; and therefore the poet set his mark upon him at the 
end of the parabasis, as one who, when sent as Hieromne- 
mon among the Athenian deputies to the Amphictyonic 
Council, lost the laurel crown which those deputies were 
required to wear on their return, —a thing that was con- 
sidered in the highest degree disgraceful.” See article on 
Greek Calendar in Dict. of Gr. and Rom. Antiq. 

Siivern, however, is of opinion that it is very doubtful 
whether the cycle of Meton was introduced when the Clouds 
was exhibited, and thinks it more probable that the errors 
of the earlier astronomical observations of Cleostratus, and 
his period of eight years, were then at their highest point, 
and that the allusion in the parabasis may be more properly 
referred to this circumstance. 

620. δικάζετε, ye are litigating. The litigious disposition 
of the Athenians was frequently the subject of the poet’s 
satire. στρεβλοῦτε, It was common in the Attic process to 
torture slaves, for the purpose of extorting confession. 

622. ‘Hix... . Σαρπηδόνα, When we are bewailing 
Memnon and Sarpedon. A scholiast says, —‘ Memnon and 
Sarpedon, being sons of Zeus, and having died in Troy, 
were thus honored among the gods, their father having or- 
dered that the gods should every year pass the day on 
which they died in fasting and mourning.” 


‘ NOTES. ‘175 


623-625. a? .... ἀφῃρέθη, wherefore Hyperbolus, being 
appointed by lot to be Hieromnemon this year, was after- 
wards deprived by us, the gods, of his crown, or, construct- 
ing τὸν στέφανον with τῶν θεῶν, the crown of the gods, the 
sacred crown, that is, the crown which he wore in virtue of 
his office as Hieromnemon. Each of the twelve states 
constituting the Amphictyonic league sent to the assembly 
or congress, held half-yearly in the spring and autumn, 
at Delphi and Thermopyle, two classes of deputies, called 
Pylagorsz and Hieromnemones; the former to attend to the 
political questions that came before the assembly, and the 
latter to the religious affairs of the league. At Athens the 
Pylagorz were chosen by an annual election, but the Hie- 
romnemones were appointed by lot. See Champlin’s De- 
mosthenes, new edition, p. 192, note; also Hermann, Pol. 
Ant., §§ 13, 14. 

626. Κατα. ἡμέρας, To keep the days of life accord- 
ang to the moon. Solon had directed that festivals should 
be observed by the lunar calendar. The poet, as above 
intimated, seems to be striking at Hyperbolus for favoring 
Meton and the new calendar. 

627-631. Ma .... μαθεῖν. Socrates has been vainly 
endeavoring to teach his disciple some οὗ the sublimities of 
philosophy. Irritated by his stupidity, the master returns in 
a towering passion, swearing by Respiration, Chaos, and 
Air, that he has never seen such a blockhead in all his life. 
The philosopher in his excitement commits what we should 
now call an Irish bull. He says Strepsiades is such a for- 
getful fellow, that, in hearing a few philosophical niceties, he 
has forgotten them before he had learned them. 

632. xaio, future for καλέσω. 

633. ἀσκάντην, ---- the same as oxipzoda, — the couch. 

635. “Avicag .... νοῦν. Strepsiades has not yet come 
cut from the phrontistery, but, the door being open, is seen 


176 NOTES. 


within. Then he takes up the couch and brings it out. 
Socrates tells him to put it down quickly (Make haste and 
put it down, and give your attention), and then proceeds te 
question him. The dialogue gives occasion to more of 
those ludicrous misapprehensions of the meaning of words 
on the part of the pupil, some of which have already been 
noticed. 

638-640. Πότερα .... διχοινίκῳ. Socrates is speaking 
of poetical measures. Strepsiades knows nothing about 
such things, and, understanding him to mean dry measures, 
answers, that, to be sure, he would like to be instructed in 
measures, for he had lately been cheated by a flour-dealer 
out of a couple of cheenices. 

643. ᾿Εγὼ .... ἡμιεχτέου. To the question, whether he 
considered the trimeter or tetrameter the most beautiful 
measure, Strepsiades replies, that, for his part, he is of opin- 
ion that the hemiecteus is as good as any. - The joke con- 
sists in this, — the éxteve was the sixth part of a medimnus; 
the medimnus of the Attic measure was forty-eight choeni- 
ces; the éxzevc, therefore, was eight chcenices, and the ἡμι- 
extcov four, that is, as Strepsiades understands the matter, a 
tetrameter. 

644. Περίδου νυν ἐμοί, Wager, then, with me. The same 
idiom occurs in the Acharnians, 1018, βούλει περιδόσθαι; 
will you bet? The offer to back his opinion by a bet is 
characteristic of the ignorance of Strepsiades. A wager is 
the natural resort of one whose purse is better filled than 
his head. 

647. Tayd.... ῥυθμῶν, But perhaps you may be able to 
learn about rhythms. Socrates despairs of making him un- 
derstand the doctrine of measures, and passes to another 
subject, that of rhythms. The old man’s thoughts, however, 
are still running upon flour and dry measures, and he can- 
not see what good rhythms will do him as to these. 


NOTES. Ἐ 


651. Kur ἐνόπλιον, For the armed dance.—xuta δάχτυλον, 
according to the dactyle, that is, the rhythm which moves in 
dactylic measure. 

654. οὑτοσί. Of course Strepsiades again misunder- 
stands his teacher, and knows no other δάχτυλος than his 
finger. 

659, seqq. Socrates now proceeds to question his disci~ 
ple on some points of grammar. The grammatical ‘subtil- 
ties of the schools —— some of which occur in the works cf 
Plato —are the present object of the poet’s wit. 

666. ‘Alextovawar. This line is as farcical as if he had 
said in English cockess and cock. 'The male and female 
bird were designated by the same word, ἀλεχτρυών. 

669. Διαλφιτώσω, [will fill with meal. 

670. *Jd0v.... ἕτερον, See, again, there’s another, that is, 
another blunder. The reader will see at once that the joke 
turns upon the feminine article being used with a noun of 
masculine termination. 

675, 676. “AIR... . ᾿νεμάττετο, But, my good fellow, 
Cleonymus had no kneading-trough, but was accustomed to 
knead in a round mortar. There is a doubt As to the 
meaning of this passage. According to some, the poet is 
representing Cleonymus, as a pauper parasite, who had not 
even a bread-trough, but was obliged to use a mortar. 
Wolf so understands it, — “ Hatte wahrlichs am Ende 
iibrig, selbst den Backetrog nicht mehr.” According to 
others, the round mortar means Sicily, where Cleonymus 
had obtained an appointment through the influence of Cleon, 
and contrived to amass a fortune. This latter fact is alluded 
to, they suppose, when Cleonymus is said to have kneaded 
in a round mortar. In the Wasps (924) @veta is used of 


Sicily : — 





Ὄστις περιπλεύσας τὴν Sveiav ἐν κύκλῳ. 
/ ‘ 


Conz, cited by Mitchell, says, — “Sicilia caseis foecunda 


178 NOTES.. 


opimis insula, ap. Athen. I. 27, appellatur, ἡ θυεία (morta- 
rium).” Upon which Mitchell says, — “That the mortar 
here means Sicily there can be little doubt; and he who has 
observed how large an ingredient cheese made in the com- 
position of an Athenian salad-confection, all the ingredients 
of which were beat up in a mortar, will be at no loss to un- 
derstand the poet’s meaning.” ‘The word occurs again, Pax. 
228, im its proper meaning, mortar. The Sicilian cheese, 
τυρὸς Σιχελίχος, is enumerated, with other luxuries, by An- 
tiphanes. See Athen., Lib. 1., 49. 

Cleonymus is introduced a great many times in the com- 
edies of Aristophanes, as a demagogue, perjurer, glutton, 
and coward. I do not know that there is any proof of Cle- 
onymus having been in Sicily; and the circumstance that 
Sicily is jokingly called a mortar, in other places, can 
hardly lend probability to the supposition that the round 
mortar here is Sicily. Perhaps the expression is a satirical 
allusion to the fondness of the parasite and glutton for high- 
seasoned dishes, like the salads prepared in the mortar; and 
that he cared so little for simple bread, that he-did not even 
keep a kneading-trough, but made the salad-mortar answer 
all his purposes. 

690. 24uvvia. The poet makes this discussion upon the 
gender of names the occasion of satirizing the cowardice 
and effeminacy of Amynias, who was ridiculed by other 
poets, as Cratinus and Eupolis, according to the scholiast. 

695-699. ᾿Εχφρόντισόν .... τήμερον. In this scene Soc- 
rates makes Strepsiades lie down upon the couch, covers 
him up with fleeces, sorely against his will, and sets him to 
the task of excogitating some profound idea with regard to 
his own affairs. The scene is regarded as a burlesque upon 
the figure of speech by which Socrates was accustomed to 
call himself the intellectual man-midwife, the professor of 
the maieutic art. Strepsiades is unwilling to risk himself 
on the philosophic couch, having already had some expe- 


NOTES. 179 


rience of its inhabitants. αὐτὰ ταῦτ᾽, these very things. For 
this combination, see Kiihner, Gr. Gr., § 303, 3. παρὰ 
ταῦτ᾽ ἄλλα, there is no other way ; παρά with the accusative 
is sometimes = preter. δίχην . . .. δώσω. The phrase δίκην 
δοῦναι is legal, and applies to him who pays the penalty. 

709, 710. éx.... Κορίνθιοι. The poet is amusing him- 
self with the resemblance in the first part of the words χό- 
oes, bed-bugs, and Κορίνθιοι, Corinthians. About this time 
hostilities existed between the Athenians and the Corinthi- 
ans ; the latter were harassing the territory of the former ; 
therefore he calls the bed-bugs Corinthians from the couch ; 
as if he had said, the Bedouins from the bedstead. 

717-722. Kat... . γεγένημαι. Poor Strepsiades cer- 
tainly makes out a strong case ; his money is gone, his color 
is gone, his shoe gone; and besides all these troubles, says 
he, while singing songs of the watch, ’m almost gone myself. 
φρουρᾶς ἄδων is a proverbial expression borrowed from the 
soldiers who hum airs to make themselves company when 
on guard; it was applied to persons who were wakeful, 
whether from the cause which kept Strepsiades awake, or 
some other. For the gen. ὀλίγου = ὀλίγου δεῖν, see Matt. 
Gr. Gr., ὃ 355, Obs. 2. The genitive φρουρᾶς denotes time. 
See Soph. Gr. Gr., ὃ 196; and Kiihner, Gr. Gr., ὃ 279, 
4 (b). | 
728. νοῦς ἀποστερητικός. The epithet is a punning allu- 
sion to the philosophical στέρησις, or deprivation. It may 
very well be rendered into English by an abstracting talent. 

729, 730. Οἴμοι... .«. ἀποστερητρίδα ; While Socrates 15 
covering him up with lambskins, the poet makes the disci- 
ple utter a wish, the language of which is whimsically bor- 
rowed from the putting on of the lambskins, and from the 
resemblance between the words ἀρνακίς, lambskin, and ἄρνη- 
σις, negation. As to the interrogative form, it is a common 
Greck idiom ta express a wish in the shape of a question. 


180 - NOTES. 


The exact point of the joke cannot be given in English; but 
something near it is, — 


Ah, who can put upon me 
From these lamb-fleeces knowledge how to fleece ? 


735. Οὐκ. .- «. φροντιεῖς ; literally, Will you not cover 
yourself up speedily and cogitate something? A command 
in the form of a question, a frequent idiom, meaning, Cover 
yourself up quickly and ponder. 

740-742. "I. . . . . oxomwv. The poet is ridiculing the 
philosophic divisions and subdivisions which Socrates was 
much addicted to, and which prevail in many parts of the "Ὁ 
Platonic writings. σχάσας τὴν φροντίδα λεπτήν, cutting the 
thought fine. διαιρῶν καὶ σκοπῶν, distinguishing and exam- 
ining. 

743. κἂν ἀπορῇς, and tf you are doubtful. 

745. Κίνησον, Set it in motion. This word is used in ref- 
erence to the meditative ἀπορία or state of uncertainty and 
wavering between different opinions. Mitchell quotes sev- 
eral passages on motion in illustration of the philosophical 
bearing of this word. — ζυγώθρισον, clap it in the balance, 
or, weigh τέ carefully and well. 

746. Ὦ Σωχρατίδιον φίλτατον. Strepsiades suddenly starts 
up, having caught an idea by the tail, O dearest Socratidy ! 

747. Ἔχω . . . . ἀποστερητικήν, I've got an abstracting 
idea of interest, that is, Pve got got hold of an idea how to 
cheat my creditors out of their interest. 

749. Θετταλήν. The Thessalians were notorious among 
the ancients for their addiction to witchcraft. They were 
the mediums of the times. The thought that has struck the 
mind of Strepsiades is, to purchase a Thessalian hag, and 
by her magic draw the moon down from heaven, and thus, as 
interest was computed by the lunar months, escape the pay- 
ment of it, by shutting up the moon in a round case. ‘The 


NOTES. 151 


λοφεῖον στρογγύλον was a case in which men kept the crests 
of their helmets and women their mirrors. “ Mirrors con- 
stituted an article of Hellenic luxury. These were some- 
times of brass; whence the proverb, — 


‘ As forms by brass, so minds by wine are mirrored.’ 


The best, however, until those of glass came into use, were 
made of silver, or of a mixed metal, the exact composition 
of which is not now known. Another kind was fashioned 
ςς΄ from a species of carbuncle found near the city of Orcha- 
menos in Arcadia. Glass mirrors also came early into use, 
4 chiefly manufactured, at the outset, by the Pheenicians of 
Sidon. The hand-mirrors were usually circular, and set in 
costly frames. ‘To prevent their being speedily tarnished, 
they were, when not in use, carefully inclosed in cases.” 
St. John’s Manners and Customs of Ancient Greece, Vol. 
ἘΠ pp: 118,119. 

758, 759. Et .... μοι, If a suit of five talents were writ- 
tng out against you, how would you evade it? tell me. This 
question is a puzzler; but Strepsiades, gathering himself 
under the bed-clothes, ponders. 

763. Awodetorv .. .. ποδός, Like a cockchafer tied with a 
thread by the foot. He is directed to let his speculative fac- 
ΠΥ soar into the air; but not lose his hold upon it. This 
is better than the dupes of the spiritual imposture do now-a- 
days. The allusion is to boys amusing themselves by tying 
a cockchafer by the foot with a thread, and then letting him 
fly off to the length of his tether. 

766. φαρμαχοπώλαις, the apothecaries. 

768. Τὴν ὕαλον λέγεις ; Do you mean the crystal? (or 
perhaps amber). ‘The ancients sometimes used the crystal, 
or lapis specularis, for burning-glasses, which would be a 
correct enough translation in this passage. Glass itself may 
be alluded to here, for its use was certainly known among 
the ancients, perhaps as early as the time of Aristophanes. 

16 


182 NOTES. 


“We find mention of burning-glasses as early as the age of 
Socrates ; and a number of lenses more powerful than those 
employed by our own engravers, have been found among 
the ruins of Herculaneum.” St. John’s Manners and Cus- 
toms of Ancient Greece, Vol. III., pp. 152, 153. Herodo- 
tus, Lib. I]. 69, calls glass ear-drops, with which the Egyp- 
tians adorned their tame crocodiles, λίθινα χυτά. 

770. “Οπότε.. .. γραμματεύς, What, if, when the clerk of 
the court entered the suit upon the tablets. When a suit was 
once admitted by the court, the scribe or clerk had to copy 
it out upon waxen tablets, which were hung upon pillars. 
Strepsiades’s abstracting idea is, to stand with his sun-glass ἡ 
in the direction of the sun, and so melt out the wax, and 
cast the suitor. 

774. “Ow... . δίκη, That a suit of five talents has thus 
been abated. διαγράφω had a technical meaning, to draw a 
line through, for the purpose of erasing, to expunge. The 
magistrates who stopped an action were said διαγράφειν, and 
the plaintiff who withdrew the suit was said διαγράφεσθαι, in 
the middle voice. ? 

777. Μέλλων ὀφλήσειν, Being on the point of getting cast 
or defeated, or, When the case is on the point Ὁ going 
against you. 

779, 780. Ei.... τρέχων, If, while one case was pending, 
before mine was called, 1 should run and hang myself. 'The 
case was called by proclamation of the herald under the 
orders of the archon. This new Socratic problem Strep- 
siades solves off-hand very ingentously ; he is not obliged 
even to put himself under the bed-clothes. — 

788. ᾿Ὑθλεῖς . ... ἔτι. The patience of the philosopher is 
now wellnigh exhausted. But Strepsiades entreats him to 
continue his instructions. He gives him one trial more, and, 
finding him incorrigibly dull and forgetful, tells him, reso- 
lutely and angrily, to be off. 

792,793. Ano. .. συμβουλεύσατε. Strepsiades, in de- 


NOTES. 183 


spair, appeals to the Clouds for counsel in this extremity, — 
For I shall go, says he, to utter ruin, unless I learn to twist 
the tongue ; γλωττοστροφεῖν. 

797, 798. “Adv... . πἐδθῷ ; 

I have a son, a perfect gentleman ; 
But — for he will not learn — what will become 
Of me? 

799. σφριγᾷ. This word may be literally rendered by the 
cant expression, he’s a swell. 

800. εὐπτέρων, high-flying. 

803. “Adv”... χρόνον, But wait for me a little while 
within. Socrates goes into the phrontistery, and while he 
is departing the Chorus, addresses him, telling him to make 
the most of his opportunity; that the man is so smitten out 
of his senses, and excited, that he is ready to do any thing 
in the world; but that such affairs are wont speedily to take 
a different turn. 

811. ἀπολάψεις, fut. ind. for imp., lap up, from ἀπολάπτω. 
See Hom. Il. XVI. 161:— 


Aapovreg γλώσσῃσιν ἀραιῇσιν μέλαν ὕδωρ. 


814. Ovror.... μενεῖς. The father has returned from 
the sophists’ school, and has evidently been holding an 
angry parle with the dandy son. In the course of the 
dialogue, he makes excellent use of the sublime instruc- 
tions he has received. The new oath, “ By Mist,” is evi- 
dently suggested by his recent intercourse with the cloud- 
philosophers — the petewgoqevaxes. 

816. °2 δαιμόνιε. The young man is greatly amazed at 
the alteration in his father’s appearance, who now has the 
philosophic look, — the pale face, the bare feet, and the 
phrontistic cloak.— τί χρῆμα πάσχεις, what ts the matter 
with you ? 

818. ᾿1δού . .. μωρίας, See there, “by Olympian Zeus,” 


184 NOTES. 


forsooth, what folly! For the genitive, see Soph. Gr. Gr., 
§ 194, 2. 

819. To ia... . τηλικουτονί, To believe in Zeus, as big 
as you are. . 

820. Ti.... ἐτεόν; What, in the name of wonder, are 
you laughing at? The word ἐτεόν is elsewhere used in 
interrogative sentences, generally expressing anger, irony, 
or surprise ; the last is the feeling here. 

821. φρονεῖς ἀρχαϊκά, and have musty old notions in your 
head. 

824. Ὅπως... .. μηδένα. “Ὅπως μή are often used with 
the future indicative in an imperative sense. See ante, 
p- 127. Properly the sentence is elliptical. See that you 
don’t tell anybody. ‘The old man proceeds with bis instruc- 
tions. 

830. ἥηλιος, the Melian. This was a term of reproach, 
partly on political grounds, the Athenians bearing a hatred 
against the Melians, and partly because Diagoras, a noted 
atheist, was a native of Melos. Mitchell, however, thinks 
that the allusion here is to Leucippus, from whose philo- 
sophical doctrines the Dinos of the Socratic school was 
formed. 

833. Εὐστόμει, ---- the same as εὐφήμει, ---- Speak reverenily, 
or, Le careful what you say. 

835-838. wv... . βίον. The poet is satirizing the 
affected habits of the philosophers, and Strepsiades is giv- 
ing a side-thrust at the extravagance of his son. They 
never wash ;— but you are washing away my property. 
ὥσπερ τεθνεῶτος, as if I were dead. According to a schol- 
iast, the expression refers to the custom of washing the 
body after death. 

842. Ivwoe.... παχύς. The poet is here turning into 
ridicule the sage old precept, “ Know thyself” Strep- 
siades undertakes to quote it, but, before he gets through, 


NOTES. 185 


turns it into a complete burlesque. TZhow shalt know thy- 
self, —how ignorant and thick-headed thou art. Perhaps 
the recent experience of Strepsiades has taught him this 
addition to the original precept. 

844-846. Οἴμοι... .. φράσω; The father has just gone 
out, and will shortly appear with a cock and hen, for the 
further instruction of his hopeful son. Meantime, the youth, 
perplexed by what he conceives to be the madness of his 
father, is in doubt whether he shall take him into court on a 
charge of lunacy, or give notice to the coffin-makers ; mean- 
ing, that the old gentleman cannot live long in such a state 
of mind. The dialogue that follows is sufficiently explained 
by what has already been said. 

853. τοὺς γηγενεῖς ; The young man is to be understood 
as applying this epithet to the philosophers, very much as a 
fashionable young gentleman now-a-days would call eccen- 
tric old people antediluvians. 

855. ᾿Επελανθανόμην ... . ἐτῶν. We have nearly the 
same idiom in English. We sometimes say, in speaking of 
what we were habitually doing at some past time, I would 
do so and so, meaning, I did so and so; as, “ Whenever he 
spoke to me, I would reply.” ‘Translate, therefore, What- 
ever I attempted to learn I would forget immediately from 
my great age. For the construction of ἄν with the indica- 
tive, see Kiihner, Gr. Gr., § 260 (6). 

857. ᾽4λλ .... καταπεφρόντιχα, I have not lost, but 1 
have pondered it away. κατά here has an intensive force, 
as in χαταχυβεύειν, to gamble away. We have no single 
word to express the meaning of the ludicrous compound 
καταφροντίζω. In German it is, Ich hab’ thn verstudirt. 

858. Tag .... ov; And what have you done with 
your shoes, you old fool? or, What have you turned your 
shoes to, you dunce? The word tétgo~oeg—in some edi- 
tions tézoomug—has caused the critics a little trouole. 
Some consider it from τρέπω, to turn; then it is, Whither 

105 


180 -NOTES. 


have you turned? that is, Where have you placed? or, as 
above rendered, What have you done with? Others take 
it from τρέφω ; this word, besides other meanings, signifies 
to keep, as of servants, slaves; to cultivate, as of hair; and 
in the passive voice it sometimes describes condition or sit- 
uation, as in Gidipus Tyrannus, μιᾶς τρέφει πρὸς νυχτός, thou 
art in one night, or, thou art surrounded by perpetual night. 
It does not seem forced, to deduce from these meanings one 
suitable to the present passage, supposing the expression to 
be applied in a rather ludicrous or canting fashion by the 
young man, — Where have you been keeping your shoes? as 
he would have asked, Where have you been keeping your 
horse? and perhaps this very idea was running in his head 
at the time. 

859. “Qonz9.... ἀπώλεσα, Like Pericles, I lost them on 
the emergency. The allusion here is to a fact in the life of 
Pericles, who, in rendering an account of his administration 
of the public revenue, set down an item of ten talents 
« ἀνηλωμένων εἰς τὸ δέον, expended upon what was wanted” ; 
being unwilling to say, “I used it to bribe the Spartan 
general Cleandridas.” Strepsiades says, burlesquing this 
item, that he had lost his shoes εἰς τὸ d¢or, — substituting 
ἀπώλεσα for ἀνήλωσα. 

863. Ὃν.... ᾿ὩΗλιαστικόν, The very first Heliastic obol 1 
received. ‘This refers to the courts of law called Heliza. 
The judges, or rather jurymen, who constituted these courts, 
were citizens above thirty years of age, and amounted to 
about 6,000; 600 being selected from each of the ten tribes. 
They were called Heliasts. They were also members of 
the popular assembly, and thus performed both legislative 
and judicial functions. But the Heliastic courts were es- 
tablished by Solon for the purpose of acting partly as a 
check upon the Ecclesia. “They seldom all met,” says 
Hermann, “ being formed into ten divisions, the complement 
of each of which was strictly 500, although it varied ac- 


NOTES. 187 


cording to circumstances; sometimes diminishing to 200 or 
400, whilst on other occasions it appears to have been raised 
to 1,000 or 1,500, by the union of two or three divisions. 
Every one to whose lot it fell to serve as juryman received, 
after taking the oath, a tablet, inscribed with his name and 
the number of the division to which he was to belong dar- 
ing the year. On the morning of every court day, recourse 
was again had to lots to decide in which courts the divisions 
should respectively sit for that day, and the suits of which 
they should take cognizance, since there were many which 
could be decided only in certain courts. The number of 
these courts of justice is uncertain; most of them, however, 
were in the Agora, and were distinguished by numbers and 
colors. Staves with corresponding marks were handed to 
the jurymen at the entrance of each court, as symbols of 
their judicial power, and at the same time tickets, on pre- 
senting which, from the time of Pericles, they received 
their fees from zwiazoéro.” — Political Antiquities of 
Greece, p. 260. 

The name Heliga is connected with the Doric aia, an 
assembly ; also with ἅλις and ἁλίζεσθαι; not with ἥλιος, as 
is sometimes stated. ach citizen received as his fee an 
obolus a day; which was afterwards increased to three 
oboli. ' 

80ὅ. "H.... ἀχθέσει. The young man has finally made 
up his mind to go; but he tells his father very gravely that 
he (the father) will be sorry for it sooner or later. 

869. Kai.... ἐνθάδε, He is not experienced in the hang- 
ing baskets here, instead of, He is not tinctured with the 
teachings of the school. χρεμαθρῶν is here used, in allusion 
to the first appearance of Socrates suspended in a basket, 
for the Socratic instructions. ᾿ 

870. Αὐτὸς :... γε. The reply of Phidippides is ut- 
tered in a languid, drawling way, and he puns upon the 


188 NOTES. 


word τρίβων used by Socrates, and jokes upon the hanging 
baskets. You would yourself be a τρίβων (an old cloak), if 
you were hung up. Or, perhaps, as if Socrates had said, 
He does not yet know our ropes, — the young man replies, 
You would know the rope yourself, if you were hung. 

872, 873. ᾿Ιδοὺ .... διεῤῥυηκόσιν, See there, κρέμαι͵, how 
foolishly he spoke it, and with parted lips. What particular 
defect Socrates is here imitating and ridiculing is a question 
among the commentators. Mitchell says, —“To under- 
stand the taunt of Socrates, we must revert to the organic 
defect and lisp of the young knight, which, instead of allow- 
ing him to say kremaio, would oblige him to say klemaio. 
Translate, Look ye there now, klemaio! did any but a noo- 
dle, and whose lips cannot come close together, ever talk in 
that fashion?” Siivern says, —“ We can understand the 
jest only by fancying to ourselves a lisping pronunciation of 
κρέμαιο, like that of Θέωρος and Kogazog in the Wasps.” 
The pronunciation referred to by Siivern is Θέωλος and 
Κόλακος. Bothe remarks, —“ Quid reprehendat Socrates, 
incertum est: vastam diphthongi pronunciationem notari 
putant Reisig. et Herm., sed assentior Welckero existimanti 
celeriter ac negligenter ista dixisse Phidippidem, ore semi- 
hiante per contemptum.” Mitchell and Siivern do not ap- 
pear to have rightly understood this passage. If the young 
coxcomb had ‘said χλέμαιο, the poet would certainly have 
written it so, as he writes in the Wasps (45), — ὁλᾷς Θέωλος 
κόλακος κεφαλὴν ἔχει. Moreover, the word διεῤῥυηκόσιν de- 
scribes, not a lisping, but a drawling, way of speaking. A 
good illustration of what is here meant is found in the indo- 
lent drawl of Lord Frederic Verisopht’s pronunciation. See 
“ Nicholas Nickleby,” passim. 

874, 875. Πῶς .... ἀναπειστηρίαν; [How can he ever 
learn the acquitting art, the summoning art, or the persuasive 
art of emptying? The word χαύνωσις is a comie word, 


NOTES. _ 189 


which means emptying. According to the Scholia, it here 
refers to the art of making an opponent’s argument appear 
empty (yavyoc). | 

878. tvvvovtor, only so big, holding out his hand to indi- 
cate the smallness of the size of the boy when he performed 
such wonderful feats. 

879, 880. "Enlartev.... tylugev.... εἰργάζετο. Note 
the force of the imperfect tense to describe continued or re- 
peated action. 

881. πῶς Soxsic. A familiar expression, equivalent to 
the English, You can’t think how. In the Frogs (1. 54) we 
have a similar expression : — 


Τὴν καρδίαν ἐπάταζε πῶς οἴει σφόδρα. 


888. Πρὸς πάντα τὰ Sizar’, Against all legal rights. The 
poet. now introduces the two opposite principles, — the true 
and false reasoning,— as persons, each maintaining in the 
following dialogue his own side of the question. 

There is evidently a change in the spirit and temper of 
the drama from this time forward. The poet becomes more 
earnest, and grapples more closely with the vices of the 
age against which he is warring. As to the manner in 
which these personified principles, the Diczologus and the 
Adicologiis, are represented, different opinions are held by 
the critics. Wieland, following the hint of an old scholiast, 
supposes they were represented as two game-cocks, fighting 
from two wicker cages; but there seems to be no sufficient 
proof of the poet’s having played off so whimsical an ex- 
travaganza. The gravity of the dialogue is inconsistent 
with such a supposition. Bergler says, —“ Hic jam per 
prosopopeiam introducuntur duo λόγοι, alter justus, qui et 
major, seu superior dicitur, quo disserimus de rebus justis, 
et justam causam defendimus; atque iste agit virum modes- 
tum, verecundum, honestatis observantem et antiquis mori- 
bus preditum ; alter injustus, qui et minor, seu inferior dici« 


190 NOTES. 


tur, jura pervertens, immodestus, impudens, honestatis ex- 
pers, corruptor juventutis. Isti duo λόγοι certant inter se, 
et uterque vult adolescentem ad se allicere, ut Virtus et 
Voluptas Herculem apud Xen. Mem. 11, 1, 21, seq., et 
Philosophia atque Statuaria Lucianum in ejus Vita, seu 
Somnio.” Mr. Mitchell has some very elegant remarks 
upon this part of the drama. After stating his objections to 
the supposition of Wieland and the intimation of the scho- 
liast, he proceeds, —- “ How, then, it may be asked, were the 
λόγω represented? What persons did they assume? What 
masks did they wear? It would be presumptuous, at this 
time of day, to affirm any thing positive on such a point; 
yet the following considerations are submitted to the reader 
as affording a strong probability whom the poet had in his 
eye in one of these characters, and that once ascertained, 
there will be no great difficulty in conjecturing whom he 
intended by the other. When the representative of the 
ἄδικος λόγος is required to reply to the animated descrip- 
tion given of the olden time, and the system of educa- 
tion then pursued, the requisition is made in the following 
terms : — 
Πρὸς οὖν τάδ᾽, ὦ κομψοπρεπῆ μοῦσαν ἔχων, 
Δεῖ σε λέγειν τι καινόν. 


Can any one compare this with a verse in one of our au- 
thor’s plays (Eq. 17), — 


Πῶς ἂν οὖν ποτ’ εἴποιμ᾽ ἂν αὐτὸ δῆτα κομψευριπικῶς; 


—and with the epithet attached in another of his plays to 
one or two persons whom Euripides brings forward, as 
specimens of the class of persons naturally generated hy 
the general construction of his dramas, and not feel a strong 
suspicion that by the Adicologus of this scene is meant no 
other than the bard himself? In a play, indeed, of which 
the almost paramount object was to expose and bring into 


NOTES. 191 


eontempt that sophistic eloquence and system of chicanery 
which were working so much mischief in the Athenian 
courts of law, who was so likely to occupy a conspicuous 
place as the poet, who, from the nature of the speeches 
for and against, which continually occur in his dramas, was 
expressly stigmatized as ποιητὴς δηματίων διχανικῶν 3... .. 
Generally speaking, no philosophic opinion is, in the Aris- 
tophanic comedies, ascribed to Socrates, which is not also 
attributed to Euripides, and the poet’s lash rarely falls upon 
the one in this respect, without a blow being at the same 
time inflicted on the other. [5 it, therefore, likely, that, in a 
drama written almost for the purpose of bringing the new 
philosophic opinions before the Attic public, Socrates should 
occupy so prominent a part in the piece as he evidently 
does, and that his fellow philosophist should be thrown 
wholly into the background?” The ingenious critic con- 
tinues his observations, and shows why Socrates is made 
the object of such overwhelming ridicule in the preceding 
part, and why the poet assumes so much of gravity in the 
remainder of the drama. His remarks are too long to be 
cited here. He thus concludes : — “ It remains only to add, 
that if the Adicologus of the play be what he has here been 
supposed to be, the Diczologus of the piece can be no other 
than the poet Aischylus. They both would appear on the 
stage in the highest possible external as well as internal 
contrast — Aischylus in the severe and simple costume of 
the olden time, of which he is the representative, Eu- 
ripides tricked out in all the finery which the robe-maker 
and the jeweller could supply — would follow as a matter 
of course.” 

891. "IP ὅποι χρήζεις, Go whither thou wilt. These 
words are quoted from the Telephus of Euripides. One 
of the characters in which he says to Menelaus,”J@ ὅποι 
χρήζεις " οὐκ ἀπολοῦμεν τῆς σῆς ᾿Ελένης οὕνεκα. 


» 


109 NOTES. 


897, 898. du... . ἀνοήτους, through these blockheads, 
pointing to Socrates and his school. 

906, 907. tovtt.... κακόν, this evil goes on; that is, the 
mischievous practice of denying the existence of justice and 
of the gods. <A similar expression occurs in the Wasps, 
]. 1483. 


Τουτὶ καὶ δὴ χωρεῖ τὸ κακόν. 


-- δότε μοι λεκάνην, give me the bowl. The speaker is al- 
ready so disgusted, that he can hardly stand such offensive 
doctrines any Jonger. 

908. Τυφογέρων, a vaporing old fellow, a dotard. 

910. ‘Poda μ᾽ εἴρηκας, You have spoken roses of me, that 
is, you have paid me the highest possible compliments. 
Your words are sweet as roses. 

912. Χρυσῷ .... γιγνώσχεις, You don’t know that you — 
are ornamenting me with gold; that is, you don’t seem to 
be aware that these qualities which you reproach me with I 
prize like jewels; that in fixmg them upon me you are 
loading me, as it were, with golden ornaments. 

915. Θρασὺς εἶ πολλοῦ, Thou art very impudent. For 
the construction of the genitive, see Matt. Gr. Gr., § 317.— 
ἀρχαῖος, nee an antediluvian. 

916. φοιτᾶν, to frequent the school. 

920-924. S0.... Πανδελετείους. Upon these lines Her- 
mann observes: — “Sententia his subest hee: qui mala 
ista dicendi artificia et subtiles fallacias doceant, jam mul- 
“tum pecuniz corradere, vitamque agere lautam et splendi- 
dam, olim autem contemptos fuisse et vix habuisse unde 
victum parerent: id ei carpendi Euripidis opportunitatem 
prebet, cujus Telephum, multa subtiliter dispytantem, sen- 
tentias Pandeleteas ex pera vorare dicit.” Τήλεφος agen 
φάσκων, Saying that you were Telephus, the Mysian. ‘The 
poet is here aiming a blow at Euripides, who, in one of lis 


» 


NOTES. 193 


dramas, the Telephus, introduced Telephus, king of Mysia, 
limping, and in a beggar’s garb; he had been wounded by 
Achilles, and was told by the oracle that he could only be 
healed by him who had inflicted the wound. For that 
reason he sought his way, in a beggar’s garb, to Thes- 
saly, where the cure was performed; to this character he 
compares the once beggarly and now rich philosophers 
and rhetoricians. Pandeletus also is spoken of as a person 
of infamous character, a sycophant, a busybody, and a lover 
of litigation. He was introduced in some of the pieces of 
Cratinus. 

925. "2 μοι .... ἐμνήσθης, Alas for the wisdom which 
you have called to mind! that is, Ah me! I am sorry you 
have no better use to put your learning to, than the defence 
of such musty notions; or perhaps better in a satirical 
sense, — Ah me! what a wise one you are! 

929. Κρόνος ὦν, being old as Cronos,—old as the hills, 
musty, antiquated. 

936. τοὺς... . ἐδίδασκες, what you were accustomed to 
teach men of former times. Observe the force of the im- 
perfect. As they were about to come to blows for the pos- 
session of the young man, the Chorus intercedes and pro- 
poses to listen to their arguments in alternate successicn ; an 
arrangement which the combatants accede to. 

950. γνωμοτύποις μερίμναις, notion-hammering studies, — 
‘studies which hammer out philosophical and poetical con- 
ceptions. 

955. Nuv.... σοφίας, Now comes the perilous crisis, — 
the trial and turning-point of wisdom. 

With regard to the following discourse upon ancient edu- 
cation, Ranke, as quoted by Mitchell, says, —“ Equidem 
eum, qui hance orationem sine admiratione legere, qui s1 
Téegerit, de viri virtute veraque nobilitate etiam tum dubi 
tans, poete amore non inflammatus, ejus comeediarum le- 
gendarum et ediscendarum cupidine non incensus, abire a¢ 

17 


NN 


(194 , NOTES; 


discedere potest, eum inquam equidem non omni solum 
sensu omnique ratione cassum, sed morum perversorum 
amatorem adeo esse judico. Nullum unquam poetam nec 
majorem nec sanctiorem fuisse quam nostrum Aristophanem 
ex hac oratione discimus.” , 

962. σωφροσύνη, temperance, in its most extended signifi- 
cation; “ αἰτία τοῦ κρατεῖν τῶν ἐπιθυμιῶν, καὶ ὑπὸ μηδεμιᾶς 
ἡδονῆς δουλοῦσθαι ἀλλὰ κοσμίως ζῇν. Diog. Laert.— γενύμι- 
στο; was in repute, was in vogue, was the fashion. 

964. εἰς κιθαριστοῦ, to the school of the harp-player. The 
two great branches of ancient Greek education were music 
and gymnastics. The great influence attributed to the 
former in refining and elevating the mind is testified to in 
many passages of Greek literature. Pindar’s language is. 
express and strong upon the point. The subject is most 
fully discussed by Plato, especially in the Republic. “The 
importance of music, in. the education of the Greeks, is gen- 
erally understood. It was employed to effect several pur- 
poses. First, to soothe and mollify the fierceness of the 
national character, and prepare the way for the lessons of 
the poets, which, delivered amid the sounding of melodious 
strings, when the soul was rapt and elevated by harmony, by 
the excitement of numbers, by the magic of the sweetest 
associations, took a firm hold upon the mind, and generally 
retained it during life. Secondly, it énabled the citizens 
gracefully to perform their part in the amusements of social 
life, every person being in his turn called upon at entertain- 
ments to sing or play upon the lyre. Thirdly, it was neces- 
sary to enable them to join in the sacred choruses, rendered 
frequent by the piety of the state, and for the due perform- 
ance in old age of many offices of religion, the sacerdotal 
character belonging more or less to all the citizens of 
Athens. Fourthly, as much of the learning of a Greék 
was martial, and designed to fit him for defending his coun- 
try, he required some knowledge of niusic, that on the field 


NOTES. 195 


of battle his voice might harmoniously mingle with those of 
his countrymen in chanting those stirring, impetuous, and 


ον terrible melodies, called paans, which preceded the - first 


shock of fight.” St. John, Manners and Customs of An- 
cient Greece, Vol. I., p. 184. The whole chapter on Ele- 
mentary Instruction is a very able summary of the subject. 
See also Jacobs’s Discourse on the Moral Education of the 
Greeks, in the “ Classical Studies,” pp. 315, 354. 

The whole subject of gymnastics is learnedly expounded 
by Krause in his Gymnastik und Agonistik der Hellenen, 
2 vols. 

965. Τοὺς κωμήτας, Those in the same quarter of the 
town, neighbors. oy means not only hamlet, but quarier 
of the city.— κριμνώδη (κρίμνον, barley-bran), tf tt snowed 
like barley-bran, if the snow came down like barley-bran. 
-“ Mischievous no doubt the boys of Hellas were, as boys 
will everywhere be, and many pranks would they play in 
spite of the crabbed old slaves set over them by their 
parents; on which account, probably, it is that Plato con- 
siders boys, of all wild beasts, the most audacious, plotting, 
fierce, and intractable. But the urchins now found that it 
was one® thing to nestle under mamma’s wing at home, and 
another to delve, under the direction of a didaskalos, and at 
school-hours, after the bitter roots of knowledge. For the. 
school-boys of Greece tasted very little of the sweets of 
bed after dawn. ‘They rose with the light, says Lucian, 
‘and with pure water washed away the remains of sleep 
which still lingered on their eyelids.” Having breakfasted 
on bread and fruit, to which, through the allurements of 
their pedagogues, they sometimes added wine, they sallied 
forth to the didaskaleion, or schoolmaster’s lair, as the comic 
poets jocularly termed it, summer and winter, whether the 
morning smelt of balm, or was deformed by sleet or snow 
drifting like meal from a sieve down the rocks of the 
Acropolis. 


196 ; NOTES. 


“ Aristophanes has left us a picture, dashed off with his 
usual grotesque vigor, of a troop of Attic lads marching on 
@ winter’s morning to school. 


“¢ Now will I sketch the ancient plan of training, 

When justice was in vogue and wisdom flourished. se 
First, modesty restrained the youthful voice, 

So that no brawl was heard. In order ranged, 

The boys from all the neighborhood appeared, 

Marching to school, naked, though down the sky 
Tumbled the flaky snow like flour from sieve. 

Arrived, and seated wide apart, the master 

First taught them how to chant Athena’s praise, 

“Pallas unconquered, stormer of cities!” 
“Shout far resounding,”’ in the selfsame notes 

Their fathers learned. And if, through mere conceit, 
Some innovation-hunter strained his throat 
With scurril lays mincing and quavering, 

Like any Siphnian or Chian fop, — 

As is too much the fashion since that Phrynis 
Brought o’er Ionian airs, — quickly the scourge 
Rained on his shoulders blows like hail, as one 
Plotting the Muses’ downfall. In the Palestra 
.Custom required them decently to sit, 

Decent to rise, smoothing the sandy floor, 

Lest any traces of their form should linger 
Unsightly on the dust. When in the bath, 
Grave was their manner, their behavior chaste. 
At table, too, no stimulating dishes, 

Snatched from their elders, such as fish or anise, 
Parsley or radishes, or thrushes, roused . 
The slumbering passions.’ 


or 


“The object of sending boys to school was twofold: first, 
to cultivate and harmonize their minds by arts and litera- 
ture; secondly, so to occupy them that no time could be 
allowed for evil thoughts and habits. On this account, Aris- 
totle, enumerating Archytas’s rattle among the principal 
toys of children, denominates education the rattle of boys. 
In order, too, that its effect might be the more sure and per: 


.“ 


. NOTES. 197 


manent, no holidays or vacations appear to have been al 
lowed, while irregularity or lateness of attendance was 
severely punished. The theories broached by Montaigne, 
Locke, and others, that boys are to be kept in order by 
reason and persuasion, were not anticipated by the Athe- 
nians. They believed, that, to reduce the stubborn will to 
obedience, and enforce the wholesome laws of discipline, 
masters must, be armed with the power of correction, and 
accordingly their teachers and gymnasiarchs checked with 
stripes the slightest exhibition of stubbornness or indocility.” 
St. John, Vol. 1., pp. 167-169. 

967. This line contains the first words of two old poems. 
-“ Παλλάδα περσέπολιν Sewer” is the beginning of a song by 
Lamprocles, the son of Midon, an ancient Athenian poet. 
One stanza of it is preserved by the scholiast in two 
forms : — 


Παλλάδα περσέπολιν κληζω πολεμαδόκον ἁγνάν, 
᾿ Παῖδα Διὸς μεγάλου δαμάσιππον" 


e 
Παλλάδα περσέπολιν, δεινὰν θεόν, ἐγρεκύδοιμον, 
Ποτικλήζω, πολεμαδόκον, ἁγνὰν 
Παῖδα Διὸς μεγάλου δαμάσιππον. 


Of this strain Mitchell says,—“Its broad, massive, and 
sonorous diction presents a strong contrast to the lighter and 
more attenuated forms of speech which it was the object of 
Huripides and the new school to introduce into lyric strains 
_and to which corresponding harmonies being set, no smal; 
mischief must have followed in a town where music formed 
so large a branch of public education” The second, 7ηλέ- 
πορόν τι βόαμα, is said by the scholiast to be taken from one 
of the poems of Cydias, a poet of Hermione. A single 
word more, λύρας, is all of it that is preserved. 

968. ᾿Εντειναμένους τὴν ἁρμονίαν. “Harmonia utentes 
‘ntensa et mascula, non vero molli et fracta.” Kuster. “ Τὴν 

ἘΦ 


» 


198 NOTES. e 


κιθάραν, ὡς συντόνου οὔσης τῆς παλαιᾶς ἁρμονίας, οὐκ ἀνξι- 
μένης, ὡς οἱ νέοι ἐπενόησαν. Schol. 

970. βωμολοχεύσαιτ᾽, from βωμολόχος, which was originally, 
as its etymology indicates, applied to persons who loitered | 
about altars, to pick up or beg the remnants of the sacrifice 
for a meal; then, to persons who were ready to play the 
buffoon for the sake of a meal; according to Passow, the 
verb is here used with reference to the degenerated music 
of the age of Aristophanes, which had departed from its 
ancient simple and earnest character, and now courted the 
applause of the multitude by every kind of artifice. ‘Trans- 
late this and the following line, Jf any one of them played off 
vulgar artifices, or turned a winding bout, like these hard-~ 
turned cadences that the present artists make, after the man- 
ner of Phrynis. Phrynis was a musician from Mitylene, 
- and is said to have gained the prize in a musical contest at 
the Panathenaic festival, in the archonship of Callias. 
“The writings of Plato,” says Mitchell, “as well as of Aris- 
tophanes, are full of references to a great revolution which 
about this time was taking place in the national music of 
Athens, and which, by substituting a lighter and more ᾿ 
effeminate style for the solemn and masculine one which had 
hitherto prevailed, was effectinga great corruption of pub- 
lic manners. At the head of this school were the persons 
in the text, Cinesias, Melanippides, and others.” 

972. ᾿Επετρίβετο .... ἀφανίζων (understand πληγάς after 
πολλάς), He was soundly thrashed with many blows, as scar- 
ing the Muses away. 

973. "Ev παιδοτρίβου. The παιδοτρίβης was the teacher 
of bodily exercises, — the educator of the body, as the χιθα- 
ριστής was one of the educators of the mind. — τὸν μηρὸν 

... προβαλέσθαι, “ pretenta tunica vel praetento cingulo, 
Semora obtegere.” Brunck. “τουτέστιν, εὐκοσμίως καθεσθῆναι, 
ὡς μηδὲν τοῖς περιεστῶσιν ὑποδεῖξαι ἄκοσμον. Sch. 

975, 976. Εἶτ. . .. καταλείπειν. A scholiast says, — 


2 
»Ὰ 


NOTES. | 199 - 


“ συμψῆσαι, ἀντὶ τοῦ συγχέαι τὴν κόνιν, ὡς μὴ σημεῖον, ἢ τύπον 
ἀπολείπεσθαι ταῖς καθέδραις " ἐν γὰρ ψάμμῳ λεπτοτάτῃ ἐγυμνά- 
ζοντο. Κατέψων δὲ τὸν τόπον, ὅπου ἐκαθέζοντο, ἵνα μὴ σημεῖον 
τῆς ἤβης ἑαυτῶν καταλείψειαν τοῖς ἐρασταῖς " παρεγίνοντο γὰρ, 
ὥστε γυμνοὺς ὁρᾷν τοὺς ἐρωμένους." 

981-988. Οὐδ᾽... ἐναλλάξ. The poet is describing 
certain kinds ef food which the youth of an earlier and 
‘more disciplined age were not allowed to eat, on account of 
their supposed heating qualities. κεφάλαιον τῆς ῥαφανῖδος, 
radish-head. ἄνηθον, dill. σέλινον, celery. owogaysir, to 
eat fish, fish being used as a relish and a luxury. It is re- 
marked by Athenzus, that the heroes of Homer are never 
represented as eating fish. κιχλίζειν means both to indulge 
in tittering, to giggle, and to eat κίχλας, a species of bird 
called the thrush; the poet probably chose the word on ac- 


count of this twofold meaning, intimating that both were 


oD? 

improper for the young, and were carefully avoided in 
former times. οὐδ᾽ ἴσχειν τὼ πόδ᾽ ἐναλλάξ, nor to keep the 
feet crossed, or nor to sit cross-legged. It is singular that 


this attitude should be mentioned as among the bad manners 


-of the poet’s time. Among the remains of ancient art there 


is, perhaps, not one representing a man, woman, god, or 
dxmon sitting cross-legged. 

984, 985. *4oyaia .... Βουφονίων. The answer of Adi- 
cologus contains expressions of the strongest contempt for 
the opinions of his opponent. He stigmatizes them as too 
old, musty, antiquated, and antediluvian, to be held in a 
moment’s respect by a man of sense. Ζιπολιώδη, from Aii- 
πόλια, the name of a very ancient feast held in honor of 
Ζεὺς Πολιεύς, --- Diipolia-lke, that is, antiquated. τεττίγων 
ἀνάμεστα, full of grasshoppers. The most ancient Athenians 
wore golden grasshoppers in their hair, as emblems of their 
claim to the character of aboriginal inhabitants of the land. 
Cecides was an old dithyrambic poet, mentioned, it is said, 
by Cratinus; Sternhold and Hopkins, perhaps, would be 


900 NOTES. 


the modern English equivalent. καὶ Βουφονίων. The fol- 
lowing account-is given by Mitchel], from Creuzer, of this 
very ancient festival. ‘Among the laws given by Tripto- 
lemus to the Athenians, three more especially remarkable 
were, ‘Reverence your elders,’ ‘ Honor the gods by offerings 
of the first-fruits, ‘Hurt not the laboring beast,’ 1. e. the 
beast employed in agriculture. . The first who offended 
against this latter command was a person named Thaulon, - 
who, at the feast of the Ζεὺς Πολιεύς, observing a steer eat- 
ing the sacred πόπανον on the altar, took up an axe and 
slew the trespasser. The expiation feast (βουφόνια) insti- 
tuted for the purpose of atoning for this involuntary offence, 
it was found afterwards expedient to continue. ‘The cere- 
monies observed in it are not alittle amusing. First was 
brought water by females appointed for the office, for the 
purpose of sharpening the axe and knife with which the 
slaughter was to be committed. One of these females hav- 
ing handed the axe to the proper functionary, the latter 
felled the beast, and then took to flight. To slay the beast 
outright was the-office of a third person. All present then 
partook of the flesh. The meal finished, the hide was 
stuffed, and the beast, apparently restored to life, was put 
to the plough. Now commenced the steer-trial. A judicial 
assembly was held in the Prytaneum, to which all were 
summoned who had been partakers in the above transac- 
tion. Each lays the blame upon the other. The water- 
bearers throw the guilt upon the sharpeners of the axe and 
knife; the sharpener of the knife casts it upon the person 
delivering it to the feller of the beast; the feller of the 
beast upon the actual slaughterer, while this last ascribes 
the whole guilt to the knife itself. The knife, unable to 
speak, is found guilty and thrown into the sea.” This is 
apparently the origin of the modern deodand. 

985, 986. ᾿4λλ᾽ .... ἔθρεψεν, But yet these are the things 
by which my training nurtured the men who fought at Mar- 


NOTES. - 201 


athon. ‘The reverence cherished by the Athenians for the 
men who fought at Marathon is well illustrated in the fol- 
lowing passage from Wordsworth’s “ Pictorial Greece.” 
“To the traveller who visits the plain of Marathon at this 
day, the two most attractive and ‘interesting objects are the 
Tumulus or mound, which has been described as standing 
between the two Marshes, and.about half a mile from the 
sea; and, at a distance of a thousand yards to the north of 
this, the substructions of a square building, formed of large 
blocks of white marble, which now bears the name of Pyr- 
gos or Tower. Beneath the former lie the remains of the 
one hundred and ninety-two Athenians who fell in the bat- 
tle; the latter is the trophy of Miltiades. To bury these 
heroes on the spot where they fell was wise and noble. 
The body of Callimachus, the leader of the right wing, was 
interred among them; and as they fought arranged by tribes 
in the field, so they now lie in the same order in this tomb. 
Even the spectator of these days, who comes from a distant 
- Jand, will feel an emotion of awe, when looking upon the 
simple monument, with which he seems as it were to be left 
alone on this wide and solitary plain; nor will he wonder 
that the ancient inhabitants of this place revered those who 
lie beneath it as beings more than human, — that they heard 
the sound of arms and the neighing of horses around it, in 
the gloom of the night, and that the greatest orator of the 
ancient world swore by those who lay buried at Marathon, 
as if they were gods.” — pp. 1138, 114. 

In 1853, I had the great pleasure of visiting the field of 
Marathon and of riding over the battle-ground. Herodo- 
tus describes it with perfect accuracy, as a place most suita- 
ble for the evolutions of cavalry. The mound was opened 
at the top, and on the sides were a few small trees and 
shrubs. ‘The plain is still uninhabited, except at the old 
monastery of Vrana, and the little hamlet of Marathona; 
but the striking beauty of the scenery around — the moun- 


202 NOTES. 


tains which shut it in, the Eubcean strait and the island bee 
yond, the blue sea—form an assemblage of picturesque 
features which the eye is néver wearied with gazing upon: 
while the great associations of history people. the solitude 
with mighty forms, and fill the silence with the solemn 
voices of the past. 

In further illustration of .this passage, we may give part; 
of the words in the oath above alluded to. It occurs in the 
Oration on the Crown. “AAV οὐκ ἔστιν, οὐχ ἔστιν ὅπως 
ἡμάρτετε, ἄνδρες ᾿Αθηναῖοι, τὸν ὑπὲρ τῆς ἁπάντων ἐλευθερίας 
καὶ σωτηρίας κίνδυνον ἀράμενοι" οὐ μὰ τοὺς ἐν Μαραθῶνι 
προχινδυνεύσαντας τῶν προγόνων, καὶ τοὺς ἐν Πλαταιαῖς παρα- 
ταξαμένους, καὶ τοὺς ἐν Σαλαμῖνι ναυμαχήσαντας, x. τ. λ. 

987. ἐν ἱματίοις .... ἐντετυλίχθαι, to be wrapped up in the 
himatia. 'These garments were not worn by the young in 
the earlier and simpler days of Athens. 

988, 989. "Qoze.... Τριτογενείης. The allusion here is 
to a procession of young men during the great Panathenaic 
festival, when those taking part in it were allowed to wear 
their arms. It was on this occasion that Harmodius and 
Aristogeiton attempted to slay Hippias and Hipparchus, — 
an attempt the history of which is giver by Thucydides, VI. 
δή. It would seem that in former times, “it had been the - 
custom to protect the breast only with the shield ; in the days 
of Aristophanes, let it suffice to say, that the shield was 
applied also to the covering of the lower parts.” Mitchell. | 
“ Juvenes armati, qui pompam prosequebantur, erant, nudi 
brachiis et cruribus, sago brevi induti; et antiquitus clypeis 
pectus tegebant, non inferiores partes, quod nunc fiebat 
(pravo pudore, cujus expertes erant proayvi innocentes.”) 
Wieland. ἀμελῇ τῆς Τριτογενείης Bergler explains “non 
respicitt Palladem, nec -pudet eum, saltantem in festo Palla- 
dis cum armis, ad tegendum veretrum uti clypeo; quum 
enim clypeus sit gestamen Palladis, ipsa dea (virgo) dede- 
core aflicitur, cum ejus arma ita dehonestantur.” 


NOTES. 203 


991. χαὶ βαλανείων ἀπέχεσθαι, and to abstain from baths. 
The reason why baths are so often spoken of as deserving 
of censure, and as corrupting the manners of the people, 
is, that, instead of being the simple means of health and 
cleanliness, as they had been in former times, they were 
now become inagnificent establishments, resorted to by the 
idle and the vicious, who passed whole days there, and 
made them the scenes of every species of debauchery. “The 
modern word bagnio owes its meaning to similar facts. 

995. ow... . ἀναπλάττειν, because you mean to form an 
image of modesty. ‘The passage is an obscure one, and 
many various readings have been suggested. Bothe reads 
Om... μέλλεις .... ἀναπλήσειν, and takes ἀναπλήσειν in 
the sense explained by Suidas, to poliute ; which will pollute 
the beauty (or ornament) of thy modesty. THermann has 
the same reading with the exception of μέλλεις, and under- 
stands ποιῶν after ὃ 1, — doing which, you will pollute the 
beauty of your modesty. Bothe-compares this use of 
ἀναπλήθειν with the German vollmachen, which is sometimes 
used with the meaning of to pollute. LBut-the reading in the 
text seems to be the best and most poetic. There is a pas- 
sage in Demosthenes, Contra Aristog. 780, which illustrates 
the passage and the meaning above assigned to it. In 
speaking of the religious feelings which have led men every- 
where to raise altars and build temples to the gods, he 
adds, —“ zoe Δίκης ye, καὶ Εὐνομίας, καὶ «Αἰδοῦς εἰσὶν ἅπασιν 
ἀνθρώποις βωμοί, οἱ μὲν κάλλιστοι καὶ ἁγιώτατοι ἐν 
αὐτῇ τῇ ψυχῇ ἑκάστου καὶ τῇ φύσει." Kock adopts 
another reading, 6 τὶ τῆς Aidovg μέλλει τἄγαλμα παλάσσειν, 
which shall befoul the figure of Modesty. 

997. Mii. “ἀντὶ tov” Egott,” says the scholiast ; since 
the apple is sacred to Venus. Virgil’s 
* 


“Malo me Galatea petit lascivia puella,”’ 


refers to the same thing. 


204 NOTES. 


- 


998, 999. μηδ᾽ ᾿Ιαπετὸν . . . - ἡλικίαν, nor, calling your 
father, “ Japetus,” reproach him with his age. Japetus was 
the brother of Cronus, and therefore, like that, means a 
musty old fellow, an old quiz. The last part of the passage 
is differently explained by Schiitz,—to resent the chastise- 
menis which you have endured in childhood. Jt means, 
rather, to deal harshly or angrily with the age (that is, the 
old age) of him by whom your infancy was sustained. Γη- 
eotoogeir, constructed in the active voice with an accusative, 
means to support in old age. See Demosthenes, Contra 
Timoc. 763: Τὸν δ᾽ ἑαυτοῦ πατέρα ovt@ γηροτροφεῖ. - 

1001. Τοῖς . . - .- βλιτομάμμαν, You will be like the sons of 
Hippocrates, and they will call you booby. ‘The sons of 
Hippocrates, like the sons of many other great men, were — 
as famous for their stupidity as their father was for his 
wisdom. The scholiast says,—“Ovtot εἰσι -Teleommog, 
Anuogar, Περικλῆς, διαβαλλόμενοι εἰς ἑωδίαν, These are Tele- 
sippus, Domophon, and Pericles, ridiculed for their HOG- 
GISHNESS. The similarity of the sounds of υἱέσιν, and the 
dative ὑσίν of ὗς, a swine, enabled the poet to make this 
point in the present passage. βλιτομάμμας is a compound 
of βλίτον, the name of an insipid herb, orach; and μάμμα, a 
child’s word for mother. It means something like mammy’s 
darling, little ninny, idiot, and the like. 

1003. τριβολεχτράπελ᾽, from τρίβολος, a triple point, and 
sometimes the point of a joke, or epigram, and ἐχτράπελος, 
unusual or unnatural. The compound seems to signify 
Jorced sarcasms,— such as a person who has a reputation 
for being what is called sarcastic thinks it is his duty to 
seek occasions for making, — stale witticisms. 

1004. Οὐδ᾽. . .. γλισχραντιλογεξεπιτρίπτο, Nor when 
called to trial on alittle suit, that may by slippery arts be 
turned to the opponent's ruin. Many examples of words* 
made up of many, in this fashion, occur in Aristophanes. 
This is compounded of γλίσχρος, ἀντιλογία, and ἐξεπίτριπτος. 


NOTES. 203 


1005. *Ai7?.... ἀποθρέξει, But, descending to the Acad 
emy, you shall run beneath the sacred olives. The Academy 
was situated a short distance from Athens, on the Cephissus, 
and was so called from its original owner, Academus, who, 
according to a scholiast, left his property to crnament the 
place. It was afterwards a gymnasium, adorned by Cimon 
with trees, and walks, and fountains. “ Here was an altar 
to the Muses, with statues of the Graces by Speusippus, a 
sanctuary of Minerva, an altar of Prometheus (the Light- 
bringing), of Cupid, of Hercules, and others. Here Plato, 
who possessed a country-seat (called Cephissia) in the 
neighborhood, gave his instructions; and afier him all his 
followers. Long was the silent sanctuary of Philosophy ob- 
served and spared even by foes; till Sylla caused its beauti- 
ful row of planes to be cut down, and converted into 
machines for war. The Academy, however, was repaired, 
and flourished till the time of Julian.” Mitchell. 
᾿ς The μορίαι, or sacred olives, were the olives in the Acad- 
emy, derived, according to the Attic legend, from the olive 
planted by Athena after her victory over Poseidon. The 
name refers to their partition from the original stock. 
Wordsworth says, —“ All the Athenian olives were thus _ 
conceived to be the offspring of one sacred parent; they 
were the offspring of the will of Minerva; the sanctity of 
the parent serving to protect its offspring. Of the parent’s 
sanctity proofs even historical were offered, and as willingly 
accepted by the Athenians This original olive-tree was 
burnt to the ground by the Persians, when they took the 
Acropolis ; its site was subsequently visited on the same 
day; the tree was then found to have shot forth fresh 
sprouts, two cubits in height.” As to a race in the Academy, 
Mitchell truly observes, — “A foot-race, and almost a foot- 
‘fall, in- such a place, may at first, perhaps, starile the 
reader; but it must be remembered, that, at the time the 
Clouds was exhibited, the Academy was a place devoted 

18 


» 


206 NOTES. 


to bodily, not to mental amusements. The genius of Plato 
had yet to sanctify it as the abode of intellectual attain- 
ments.” The valley of the Cephissus is still covered with 
olive grove, and a few fragments of sculpture and archi- 
tecture mark the site of the Academy. 

1007. ἀπραγμοσύνης, leisure. “To live in the odor of 
ἀπραγμοσύνη at Athens must have been almost as fortunate 
as dying in the odor of sanctity in the Papal Church.” 
Mitchell. The pleasure of doing nothing —the dolce far 
niente —is not yet forgotten in Athens, nor anywhere 
else. . 

1008. πλάτανος. “Magnam vero loco jucunditatem fa- 
ciebant platani excelsz cubitorum triginta sex, quas laudat 
Plinius.” Brucker. 

Diceologus closes this part of the dialogue by presenting 
contrasted pictures of the physical, moral, and intellectual 
effects of the two opposite systems. He does this in such a 
way as to satirize the public and private vices of the Athe- 
nian people. ‘The Antimachus mentioned in line 1022 was 
«2 person often held up to contempt by the comic writers for 
his dissoluteness and unnatural vices. 

1035. γέλωτ᾽ ὀφλήσεις, incur laughter, become an object of 
ridicule. 

1051. “Πράκλεια λουτρά; A scholiast upon these words 
thus discourses : ~— “ Ibycus says, that Vulcan made a gift to 
Hercules of a bath of warm water, from which some affirm 
that warm baths are called Herculean ; but others say that 
Athena sent up warm baths for Hercules when fatigued 
with his toils; Peisander, for example, writes, ‘And the 
blue-eyed Athena made for him, at Thermopyle, a warm 
bath, on the shore of the sea.’” Brunck says, — “ Aquas - 
natura calidas, θερμῶν ἄτεχνα ῥεύματα, Hereulis balnea vo- 
cabant.” The hot springs of Thermopyle still serve the 
weary traveller, to refresh him after a hard days’ ride, on a 
Thessalian steed, over the mountains. They are put also te 


NOTES. i, 207 


a very practical use by the present proprietor — they turn a 
corn-mill night and day, grinding for the inhabitants of 
many neighboring villages. 

1063. ‘O.... μάχαιραν, Peleus, on this account received 
the sword. The allusion is to a story of Peleus, according 
to which Hippolyta, the wife of Acastus, king of Iolcos, in 
Thessaly, fell in love with him, and, meeting with the same 
sort of treatment that Potiphar’s wife received from Joseph, 
had recourse to similar means of vengeance. - Acastus 
caused him to be carried to a solitary spot, stripped off his 
arms, and then exposed to wild beasts. And when he was 
on the point of being torn in pieces, the gods sent Hermes 
to him with a sword of Hephestean πεν by 
means of which he escaped the danger. 

°1065, 1066. “Ὑπέρβολος .... μάχαιραν, But eaerbolts 
he of the lamps, got by his πο many a talent (literally, 
more than many. talents), but not a sword, no, by Zeus, O, 
no! Wyperbolus was a lamp-maker, who acquired wealth, 
and was accused of cheating his customers in the materials 
οἵ his lamps. He became a noted demagogue. 

1070. χρόνιππος, “a prodigious old dolt.” It is by a simi- 
lar use of the word ἵππος in addition that we get a sense 
to such expressions as the following in the Aristophanic 
writings. Pac. 180, ἱπποκάνθαρος. Ran. 820, ῥήμαθ᾽ ἱπποβά- 
μονα. Mitchell. Compare the English, “a horse-laugh.” 

1073. κοττάβων. The cottabus was a social game intro- 
duced from Sicily into Greece. In its simplest form, one 
of the company threw from a goblet a certain quantity of 
pure wine into a metal basin, so as not to spill any of it, 
thinking of or pronouncing the name of his mistress in the 
mean time, drawing conclusions with regard to the feelings 
of the object of his love from the sound with which the 
liquid struck against the metal basin. Another form of the 
eottabus is described by Athenzus. Small empty bowls 


208 NOTES. 


were set in a basin of water, and the person who sunk the 
greatest number by throwing wine from his goblet, obtained 
the prize. A third form is described by Suidas. <A piece 
of wood was set in the ground, and another laid horizontally 
across it, with two dishes hanging from each end; under 
each dish a vessel of water was placed, and in each of these 
a gilt brazen statue called waryg. Those who were playing 
the game endeavored to throw wine from a goblet into 
one of the dishes, so that it might fall upon the head of the 
statue under the water. He who spilled the least wine 
gained the victory, and thus knew that he was beloved by 
his mistress. A fourth kind is described by Pollux, the 
scholiast on Aristophanes, and Atheneus. The waryg was 
placed upon a pillar like a candelabrum, and the dish hang- 
ing over it must, by means of wine projected from the 
goblet, be thrown upon it, and thence fall into a basin filled 
with water, which from this fall gave forth a sound; and he 
who produced the clearest ring was the victor, and received 
prizes consisting of eggs, cakes, and sweetmeats. The 
chief object to be accomplished in all the various modifica- 
tions of the cottabus was to throw the wine out of the - 
goblet in such a manner that it should remain together and 
nothing be spilled, and that it should produce the purest 
and strongest possible sound in the place where it was 
thrown. In Sicily the popularity of this game was so great, 
that houses were built for the special purpose of playing 
the cottabus in them. See Dictionary of Greek and Roman 
Antiquities, p. 295. 

1081. ἥττων, literally, less than, that is, under the influ- 
ence of, or overcome by. 

1083. Tv.... 767; This refers to the punishment in- 
flicted on adulterers, which is thus described by the schol- 
iast: — “ ῥαφανῖδας λεμβάνοντες καθίεσαν εἰς τοὺς πρωχτοὺς 
τούτων, καὶ παρατίλλοντες αὐτούς, τέφραν θερμὴν ἐπέπασαον, 
βασώνους ἱκανὰς ἐργαζόμενοι." 


NOTES. 209 


1084. "Eke τίνα γνώμην λέγειν, What philosophicul idea 
will he have to prove ? 

1089. Συνηγοροῦσιν ἐκ τίνων ; From whom do the council- 
lors come? And so the questions which follow. For an 
account of the public συνήγοροι, see Schémann on the 
Assemblies of the Athenians, pp. 204, 245. 

1097. Καὶ δὴ σκοπῶ, Well, then, I’m looking. Diczolo- 
gus looks round upon the spectators, and recognizes first 
one rake and then another, until, giving up the contest in 
despair, he confesses himself conquered, strips off his hima- 
tion, throws it over among the stronger party, and deserts 
to their side. 

1108. ἐπὶ μὲν θἄτερα, on one side. 

1109. Οἵαν δικιδίοις, supply στόμωσον τὴν γνάθον, Sharpen 
his jaw for small suits. — τὴν δ᾽ ἑτέραν αὐτοῦ γνάθον, and his 
other jaw, instead of the jaw on the other side. 

1113. Χωρεῖτέ νυν. This is addressed by the Chorus to 
Strepsiades and Phidippides. As they go off, the Chorus 
address the warning words Οἶμαι δέ, &c., to Strepsiades. 
By some editors, as Brunck and Bothe, these words are 
assigned to Strepsiades. But Bekker, Hermann, Schiitz, 
Dindorf, and Mitchell give them as in the text. The lines 
which follow form another parabasis, or address to the spec- 
tators, expressing the views of the poet. 

1115. Tove χριτάς, The judges, that is, the persons ap- 
pointed by the archon to act as judges in the theatrical con- 
tests. See Theatre of the Greeks, pp. 107, 108. 

1116. ἐκ τῶν δικαίων, justly ; a frequent construction of 
the genitive of an adjective with the preposition ἐκ in the 
sense of an adverb. 

(1120. ἐπομβρίαν, too much rain: 

1123. ἐκ tov χωρίου, from his farm; as we say in Eng- 
lish, his place, meaning his estate in the country, his farm. - 
1125. σφενδόναις, literally, slings, used metaphorically for 
hail. 

18* 


210 NOTES. 


1126. πλινθεύοντ᾽, making brick. 

1128. τῶν ξυγγενῶν, supply τις. 

1129. Ὕσομεν τὴν νύχτα πᾶσαν, We will rain the whole 
night. ‘The poet alludes toghe hymeneal procession which 
accompanied the bride to her husband’s house by torch- 
light. A continued rain all night would be a serious mis- 
fortune on such an occasion. In the second volume of St. 
John’s Manners and Customs of Ancient Greece (Chap. I.) 
there is a minute and graphic account of the marriage cere- 
monies. After describing the preliminary rites, he pro- 
ceeds : — “ The performance of rites so numerous generally 
consumed the whole day, so that the shades of evening 
were falling before the bride should be conducted to her 
future home. This hour, indeed, according to some, was 
chosen to conceal the blushes of the youthful wife. And 
now commenced the secular portion of the ceremony. 
Numerous attendants, bearing lighted torches, ran in front 
of the procession, while bands of merry youths, dancing, 
singing, or playing .on musical instruments, surrounded the 
nuptial car..... The celebration of nuptial rites generally 
puts people in good temper, at least for the first day; and 
new-married women at Athens stood in full need of all 
they could muster to assist them through the crowd of cere- 
mofiies which beset the entrances to the houses of their 
husbands. Symbols of domestic labors, pestles, sieves, and 
so on, met the young wife’s eye on all sides. She herself, 
in all her pomp of dress, bore in her hands an earthen bar- 
ley parcher. But, to comfort her, very nice cakes of sesa- 
mum, with wine, and fruit, and other dainties innumerable; 
᾿ accompanied by gleeful. and welcoming faces, appeared in 
the background, beyond the sieves and pestles. ‘The hyme- 
neal lay, with sundry other songs, all redolent of joy and 
youth, resounded through hails now her own. Mirth and 
delight ushered her into the banqueting-room, where ap- 
peared a boy, covered with thorn-branches and oaken 


NOTES. : 211 


boughs laden with acorns, who, when the epithalamium chant- 
ers had ceased, recited an ancient hymn, beginning with the 
words, —‘I+have escaped the worse and found the better, ” 

1129, 1130. ὥστ᾽ ἰσως βουλήσεται κἂν ἐν Αἰγύπτῳ τυχεῖν, 
κ. τ. Δ. For translation see note in the Appendix. Several 
learned reasons have -been assigned for the -poet’s choosing 
Egypt of all places in the world. One critic thinks it was 
because it never rained there; another, because the Egyp- 
tians were noted rogues, and to be in Egypt would be like 
falling into a robber’s den. But it was evidently a mere 
proverbial expression, equivalent to “I would see myself at 
the world’s end before I would do it.” Bothe gives, as a 
German equivalent, “Da mécht’ er sich lieber an den 
Blocksberg wiinschen, — He would sooner wish himself on 
the top of the Blocksberg.” 

1131, seqq. Strepsiades reappears, counting off the days 
with great anxiety. The reader-must bear in mind, that 
the Attic month was divided into three decades, and that the 
days of the last decade were reckoned backward; so that 
the δευτέρα was the last day but one of the month, and was 
called δευτέρα φθίνοντος. The éy te καὶ νέα was a name 
given by Solon to the last day of the month, because “ dur- 
ing part of the day the moon was old, and for the remaining 
part new.” se iy moni 

1136. Θείς μοι πρυτανεῖ. This expression was equiva- 
lent to commencing a suit. It arose from a legal usage, 
thus explained by Boeckh:— “The Prytaneia both parties 
were required to deposit with the court previous to the 
commencement of a suit, like the Sacramentum among the 
Romans, unless the subject came within the province of a 
diztetes; if the plaintiff neglected this, the officers who 
introduced the cause quashed the suit; he who lost his 
cause paid both the Prytaneia; that is, his own were for- 
feited, and he repaid the sum deposited by the winning 
party. The amount was accurately fixed, according to the 


212 ; NOTES. 


standard of the pecuniary interests involved in the cause: 
in suits for sums of from one hundred ta one thousand 
drachmas, each party had to deposit three; in suits involv- 
ing sums from one thousand to ten thousand drachmas, the 
sum to be deposited was thirty drachmas; in greater sums, 
probably in the same proportion.” — Boeckh, Die Staats- 
haushaltung der Athener, Vol. I, pp. 369, 370; English 
translation, p. 345, seqq. 

1146. τουτονὶ πρῶτον λαβέ, take this first; that is, this 
bag of meal, which Strepsiades has brought for Socrates, 
according to his promise. See ante, 668, 669. 

1147. Koy .... διδάσκαλον, To pay some compliment to 
the master. . 

1149. ov... . εἰσήγαγες, which you just now brought for- 
ward, and meaning the ἄδικος λόγος ; but, according to 
some, it refers to the son, whom you lately led into the 
phrontistery. The former is probably the true meaning. 

1154-1156. δοάσομαί .... τόχων. Strepsiades, over- 
joyed by the assurance of his son’s successful studies, 
breaks out in a rapturous strain of defiance to his creditors. 
ὀβολοστάται, obol-weighers, low, petty usurers. taoyaia, 
principal, or capital. τόκοι τόκων, interest upon interest, 
i. 6. compound interest. 

1167. “Οδ᾽ ἐκεῖνος ἀνήρ, Here’s your man. “The door of 
the school opens, and Phidippides returns to the stage, a 
singular mixture of phrontist and sophist. As the first, he 
is of course deadly pale, and his nose seems formed for no 
other purpose but to hang all the world upon it, except 
Socrates and Cherephon; but the sharp features, the keen 
and cunning eye, the contemptuous smile that plays about 
the lips, and, above all, the bold, unabashed front, belong to 
the sophistic and predominant part of him. The embraces 
and other ebullitions of parental joy he receives as a phi- 
losopher should, with the utmost coolness and indifference.” 
Mitchell. 


NOTES. “15 


1172. ἰδεῖν. For the construction of this infinitive, see 
Matt. Gr. Gr., § 535; Soph. Gr. Gr., § 222, 6. 

ἘΠῚ 173% ἐξαρνητικὸς καντιλογικός. In illustration of 
these words, Mitchell aptly quotes from Ben Jonson : — 


“Men of that large profession that can speak 
To every cause, and things mere contraries, 
Till they are hoarse again, yet all be law! 
That with most quick agility can turn 
And re-turn; can make knots and then undo them ; 
Give forked counsel, take provoking gold 
On either side and put it up.” 


1174. τὸ τί λέγεις σύ; The Athenians were noted and 
satirized for their inquisitive, prying disposition. Demos- 
thenes was very severe upon this weakness, and here Aris- 
tophanes calls the “zi λέγεις. ov ;” what have you to say? 
or, what news? something native to the place, ἐπιχώριον. 
Or, according to another explanation, the “zi λέγεις σύ; 
refers to their affected way of asking questions, from a sort 
of pretended deafness, like the English “what say?” and 
this the young man now has, as well as the true Attic look, 
᾿“ττικὸν βλέπος, the impudent stare. In the succeeding 
dialogue, he puts his newly acquired faculties to immediate 
use, by quibbling upon the term, the old and new day. 

1189. ziijow, the summons. See ante, p. 153. 

1191. vouunrig, on the new moon ; that is, the first day of 
the month. 

1192. “ha... . moooebnuer; And why did he tack on the 
old day? 

1192-1195. “Iv... . νουμηνίᾳ, That, my good Sir, the 
defendants, making their appearance one day earlier, might 
setile the matter of their own accord; if not, that they 
might be brought to the torture early in the morning of 
new-moon day; that is, that the suit might be pressed 
harder. 

1196, 1197. Πῶς .... νέᾳ 3 Why, then, do not the magis- 


oie NOTES. 


trates receive the deposits on the new moon, but on the 
_ last day of the month? that. is, why do they receive them 
one day earlier than théy are entitled to by the laws of 
Solon ? 

1198. "Omeg... παθεῖν, They seem to me to have been af- 
fected as the public tasters are. The προτένθαι were persous 
appointed to taste beforehand the meats that were used nt, 
feasts. See-Atheneus, IV. 72; also St. John, Vol. IL, 
p- 177, n. 2. Phidippides says that the magistrates took 
their fees a day earlier, that they might taste their money 
beforehand, as the προτένθαι tasted the meats. 

1201-1203. Ev y.... νενησμένοι; Strepsiades is over- 
joyed at this specimen of his son’s ingenuity in the cheating 
art, and, turning upon the audience, abuses them in good 
set terms for their stupidity. “Hycreoa κέρδη τῶν σοφῶν, for 
κέρδη ἡμῶν τῶν σοφῶν (Soph. Gr. Gr., ὃ 156, Ὁ). ἀριθμός, 
a mere number; like Horace’s “ Nos numerus sumus.” 
᾿ ἀμφορῆς veryouevot, jars heaped up. He compares the spec- 
tators, sitting on rows of seats rising one above another, to 
rows of vases in a potter’s shop, arranged on successive 
lines of shelves. 

1212. "AV... . ἑστιᾶσαι. Strepsiades πϑῆς: leads his 
son away to a feast which he is about to give in honor of 
this great occasion. But Pasias, one of the usurers to 
whom Strepsiades is indebted, suddenly makes his appear- 
ance, talking the matter over with the person whom he has 
brought. to witness the summons that he is going. to serve 
upon his debtor. See ante, p. 156. = ; 

1215, 1216. alia... . πράγματα, but tt would have been 
better at once to lay all delicacy aside, than to have this 
rouble. He-means, that he regrets not having had the 
courage to refuse the money at first; for then he would 
nave been spared all the trouble and vexation that he is 
likely to incur by getting into a quarrel and going to law 
with his neighbor. 


NOTES. Pi. 


1220. *Arag.... καταισχυνῶ, But I will never disgrace 
my country ; that is, I will never, by relaxing one iota of my - 
legal rights, discredit my birth, as a true citizen of Athens, 
that most litigious city. So he proceeds to serve the 
notice upon Strepsiades, and is encountered at once by 
the demurrer which the young sophist has previously sug- 
gested. i 
1235. Kay ... . τριώβολον, I would e’en pay down three 
oboli more to swear. 

1237. ‘Alow.... οὑτοσί, This fellow would be benefited, 
if he were to be rubbed over with salt. Ue pretends to 
think the usurer out of his wits; rubbing with salt being, 
according to a scholiast, the treatment to which the insane 
were subjected. 

1238. “E&.... χωρήσεται, He will hold six choés. The 
chotis was an Attic measure of liquids, holding between five 
and six pints. He is speaking derisively, as if he were 
examining a goblet or amphora. 

1239, 1240. Ov .... xatamgoige, By great Zeus and the 
other gods, you shall not abuse me with impunity. 

1241. Kat.... εἰδόσιν, And to the knowing ones, Zeus, 
sworn by, is ridiculous. | 

1246. Ti.... δράσειν ; This is addressed to the witness 
whom the usurer has brought with him. Strepsiades, in the 
mean time, has left the stage. In a few moments he re- 
appears with a xagdomog, and plies his creditor with some 
of the- philosophical and grammatical questions that he has 
himself learned. 

1252. Οὐχ, ὅσον γέ μ᾽ εἰδέναι, No, not as I know of. For 
the construction, see Matt. Gr. Gr., § 545; Soph. Gr. Gr. 
§ 223, 2. 

1253, 1254. Οὔκουν... . θύρας; Will you not be off, 

about the quickest, from my door? “Celeritatis notio aus 
_ getur additis verbis ἀνύσας τι θᾶσσον. Dindorf. 


216 - NOTES. 


1257, 1258. Καίτοι. . . . κάρδοπον, And yet I don’t want 
you to suffer this, merely because you were fool enough to call 
a cardopos, τὴν κάρδοπον. 

1259. Jo. Anothet creditor, Amynias, arrives, and just 
at this moment his chariot breaks down, and loud cries are 
heard. 

1261. Tov... . ἐφθέγξατο; Jt was not one of the de- 
mons of Care nus that shouted, was 143 Carcinus was 
accustomed to introduce heroes or demigods in his tragedies, 
making bitter’ lamentations. These characters were sus- 
tained by the sons of the tragedian. 

1264, 126%. °Q σκληρὲ . . .. ἀπώλεσας. These exclama- 
tions of Amyitias are quotations from some one of the plays 
of Carcinus. or his son Xenocles. Mitchell observes, 
acutely, —“ When we recollect that the Attic theatre was 
opened only at distant intervals, but that the whole day was 
devoted to [6 drama, tragedies ard comedies succeeding each 
other, it sess not improbable that the comic poets would 
often keep πῇ eye upon their brethren of the buskin, to see 
whether ssmething might not occur which might be put to 
instant ur<, in the snape of parody or travesty. In the 
present instance, for example, why may not Amynias’s ac- 
cident be a parody on a similar one which some hero or 
god haa suffered in a tragedy of Xenocles (son of Car- 
cinus), the quotations here put into the mouth of Amy- 
nias being the same which, not many hours before, had 
come upon the ears of the audience in the deep tones of 
tragedy 2?” 

1266. Tv... . κακόν; What harm has Tlepolemus done 
you 2? The words quoted in the preceding line may have 
been uttered by the tragic character, Tlepolemus, son of 
lieracles ; or the allusion may be, as Mitchell supposes, 
to the story of Tlepolemus having accidentally killed his 
father’s uncle, Licymnius (son of Electryon and brother of 
Alcmene), intending only to beat the slave by whom Licym- 
ius was attended. See 1], II. 669 -- 670 (especially 662, 663). ~ 


NOTES. 217 


1269. καὶ κακῶς πεπραγότι, especially as I have been so 
unlucky. 

1271. Kaxag.... δοκεῖς, You were really unlucky, as I 
think ; that is, when you lent my son the money; for you 
never will get back an obol. 

1272. Ἵππους ἐλαύνων. This again is a parody from 
some tragic scene. 

1273. ἀπ᾿ ὄνον καταπεσῶν; A proverbial expression, ap- 
plied to persons who do any thing inconsiderately. There 
is also a play upon the similarity of ἀπ᾽ ὄνου and ἀπὸ νοῦ. 

The scene that now ensues is one of the most humorous 
in the play. The ingenious argument of Strepsiades against 
usury has been, in substance, frequently and very gravely 
urged in modern times. 

1298. οὐκ ἐλᾷς, ὦ σαμφόρα ; Strepsiades pricks him with 
the goad, and addresses him as if he were a horse. σαμ- 
φόρα, the horse so called from the brand. 

1300. τὸν σειραφόρον, the rein-horse, the horse that was 
not in the collar under the yoke. 

1301, 1802. ἔμελλον . . . . ξυνωρίσιν, I thought I should 
start you with your wheels and span. For the use of μέλλω 
with the fut. inf., see Matt. Gr. Gr., ὃ 498, d. Schiitz thinks 
the expression refers to the wheels and chariot which were 
the occasion of the debt to Amynias; “id vero comice 516 
effertur, quasi Amynias tanquam equus σειραφόρος ipse cur 
rui alligatus esset.” But the phrase is probably only a cant 
expression, like one frequently used by political newspaper 
editors, when they speak, in their slang, of an opponent 
being beaten, horse, foot, and dragoons. | 

1304. [ἐρασθείς, the MSS. reading in this verse does not 
agree with ἐζήτει in the antistrophe, and is probably corrupt. 
The commen emendation ἐξαρθεῖς means elated, puffed ip. | 

1320. Ἴσως ... - εἶναι, Perhaps, perhaps he will wish 
that his son were dumb. That is, he will be likely to receive 
such treatment at the hands of his scapegrace son, that he 

19 


218 NOTES. 


would rather have him dumb than gifted with such elo- 
quence. No sooner is the prediction uttered than it is ful- 
filled. Loud cries are heard from Strepsiades, calling upon 
his neighbors for help against his son, who has been giving 
him a beating. Not only so, but the young reprobate very 
coolly admitting the fact, turns his newly acquired logical 
powers to use in defence of the act. Thus Strepsiades 
begins to reap the fruits of his dishonest schemes. 

1323. πάσῃ τέχνῃ, by all means, with all your power. 

1324. Oiuor.... γνάθου, O dear, poor wreteh that Tam! 
O my head and my jaw! Genitive of exclamation. See 
Soph. Gr. Gr. § 194, 2. 

1333. Kat... . δίκῃ; And how ean tt be just to beat a 
father ? 

1338-1341. ᾿Εδιδαξάμην .... υἱέων. Hermann supposes 
ἄν to be understood after ἐδιδαξάμην ; but this would change 
the whole meaning of the passage. He does not mean to 
say, [ would have had you taught, ete., but, Sure enough, 1 
have had you taught the art of opposing justice, if you are 
going to persuade me that tt is right and just for a father to 
be beaten by his sons ; you have learned the art with a ven- 
geance, if this is the way you are going to apply it. 

1347. εἰ μή τῳ ᾿πεποίθειν, had he not had something to rely 
upon. 

1352. πάντως. .... δράσεις. The future used as an im- 
perative, or in the sense of you must do it, completely, or by 
all means. 

1356. [Simonides wrote an ode in honor of an A¢ginetan 
wrestler named Arios, which began, ᾿Επέξαθ᾽ ὃ κριὸς οὐκ 
ἀεικέως, and described how Krios decked (or combed) him- 
self for the contest. Strepsiades is made (by a change of 
ἐπέξατο to ἐπέχθη) to eall this “The Shearing of the Ram.” 
See Hdt. VI. 50, where an AXginetan Krios is mentioned. | 

1357, 13858. Ὃ 8 .... ahovoar, But he said at once, that 
tt was old-fashioned to play upon the lyre, and sing over the 


NOTES. 219 


wine, like a woman grinding barley. A miller’s song has 
been preserved by Plutarch. “Ade, μύλα, ἄλει" καὶ γὰρ 
Πιττακὸς ἀλεῖ, μεγάλης Μιτυλήνης βασιλεύων. 


Grind, mill, grind, 

For e’en Pittacus grinds, 

Of great Mitylene the king. , 
{ 


1364. ἀλλά, at least. The sentence is elliptical. Supply 
tf he would sing nothing else. See Kiihner, § 322. 

1371. [Ὡς ἐκίνει. This refers to the Zolus of Euripides, 
in which Macareus offers violence to his sister Canace. Sce 
Ovid, Trist. II. 384: — 


Nobilis est Canace fratris amore sui.] 


1375. ἽΕπος .... ἠρειδόμεσθ᾽, Then we went at tt, from 
word to word. — 

1382, 1383. Εἰ.... ἄρτον. Old Strepsiades reverts to 
the care which he had taken of his ungrateful son in his 
infancy ; when he could merely lisp, his father understood 
him and supplied his wants; when he said βροῦν (a Greek 
baby-work for drink), he gave it him; and when he said 
μαμμᾶν, something to eat, he gave him bread; and when 
other necessities of infantile nature were intimated, he would 
help the youngster through his trouble. 

1395, 1896. To... . ἐρεβίνθου, I would not give a chick- 
pea for the old man’s skin. Construction, gen. of price. 

1399-1405. ‘Q¢.... κολάζειν. The young sophist is in 
an ecstacy with his newly acquired powers. He cannot 
help comparing his present intellectual state with his former 
dulness and stupidity: once, when horses were his passion, 
he could not put three words together without blundering ; 
but now his intellects have attained to such a marvellous 
growth, that he can prove it just to thrash his father ;—a 
whimsical result of the new education. 

1406, 1407. “Inmeve.... ἐπιτριβῆναι. Strepsiades gives 
up indespair. He would rather come down with the money 


220 NOTES. 


for a chariot and four, than be thus beaten within an inch 
of his life. 

1408, 1409. ᾿Εκεῖσε . . .. ἔτυπτες ; Phidippides, however, 
is not to be cheated out of his argument. He is determined 
to prove his point; and he does it by a most ingenious piece 
of logic. 

1415. | This verse is a parody of Eur. Alcest. 691 (whence 
the iambic trimeter) : — 

Xaipers ὁρῶν φῶς, πατέρα οὐ χαίρειν δοκεῖς ,] 

14238, 1424. Ἅηττον .... ἀντιτύπτειν ; Since the maker 
of this law was but a man like you and me, why should n't 
I, too, get a new law made for the future,—a law in favor 
of sons,—that they may thrash their fathers in turn. 

1429. πλὴν . . . . γράφουσιν ; except that they don’t make 
popular decrees. The ψήφισμα was a vote, or decree, passed 
by the people in the ἐκχλησία. The individual who pro- 
posed the ψήφισμα was said γράφειν, literally, to write τί, 
that is, to bring it forward in regular form, ready drawn. 

1431. κἀπὶ... .. καθεύδεις ; and go to roost at night 3 

1484. δίκαιός ei ἐγώ, [have a right. For the personal 
construction of δίκαιος, see Kiihner, Gr. Gr. § 306, R. 
0.1: 

1436. Marny .... τεθνήξεις, I shall have had my fiog- 
gings for nothing, and you will have died grinning at me. 

1437. δίκαια. Strepsiades is now thoroughly convinced 
of his error, and admits the justice of his punishment; but 
still the son persists in carrying out, to a more monstrous 
length, the new principles and views of duty which he has 
acquired under the Socratic instruction. 

1440. Σχέψαι . . . . γνώμην, Consider still another phitlo- 
sophical idea. Phidippides is mimicking the philosophical 
cant that he has before heard his father using. —’470 γὰρ 
ὀλοῦμαι, I will not; for I shall die if Ihear another. γάρ 
often implies a whole clause; sometimes an answer to a 
question, sometimes an explanatory remark. Mitchell 
thinks the meaning here is, Zé will be death to me, if I 


NOTES. 221 


do not consider his new γνώμη. But the reverse is more 
likely to be the true meaning, — Jt will be the ruin of me, 
if I do consider the new idea. 

1441. Kai... . πέπονθας, And yet perhaps you will not 
be troubled (that is, when you have heard my new idea) by 
having suffered what you have heretofore endured. The 
sentence is equivocal. It may mean either, 716 new notion 
will be so pleasing to you, that you will forget all your pres- 
ent troubles ; or, Jt will be so much worse than any thing 
you have had before, that your present troubles will seem as 
nothing in the comparison. Strepsiades takes it in the 
former sense; and so did the French lady who remarks 
upon the proposition, — “ Cela est plaisant. Il y a aujourd- 
hui bien des maris, qui se consoleroient d’étre battus, si 
leurs femmes étoient battues.” , 

The dialogue that follows is supposed to be aimed at Eu- 
ripides, in several of whose plays sentiments of irreverence 
towards mothers were introduced, besides wholesale denun- 
ciations of all the sex. Strepsiades has still sense enough 
left to be shocked by his son’s impiety towards his mother ; 
in fact, this last extreme of sophistic wickedness is all 
that was wanting to work a complete moral cure in the old 
man. 

1450. βάραθρον. This was properly the pit into which 
the bodies of executed criminals were thrown. 

1457. ἐπήρετε, instigated. 

1464-1471. In the ensuing dialogue between the father 
and son, Phidippides retorts, with considerable effect, the 
language that Strepsiades had used early in the play. . 

1473. Διὰ τουτονὶ τὸν Aivorv, On account of this Dinos, 
this stupid Dinos, as Kock interprets it, which Socrates has 
put into my head. 

1475. ’Evravda.... φληνάφα, Be mad and play the fool 
for yourself. Uttering these words, Phidippides leaves the 


scene. ' 
it bo, 


222 NOTES. 


1476, seqq. ‘The old man, being left alone, exclaims 
upon his folly in giving up the gods for Socrates. Then, 
addressing himself to Hermes, asks his pardon and coun- 
sel how he shall punish these audacious sophists; eit?.... 
γραψάμενος, whether I shall prosecute them, bringing an ac- 
tion. These are legal terms. See Demosthenes de Corona, 
passim. 

1485. ᾿Ορθῶς . . . . δικοῤῥαφεῖν, You advise me rightly, 
not consenting that I should get entangled in a lawsuit, — 
addressed to Hermes again, whom he affects to be listening 
to, and to follow his advice. He calls his servant Xanthias 
to bring a pickaxe, and climb upon the roof of the phron- 
tistery, and knock it in about their ears. Then, taking a 
lighted torch, he mounts a ladder, and sets fire to the build- 
ing. The disciples are smoked out; and at last Socrates 
and Cherephon come forth themselves to see what is. the 
matter. They find Strepsiades at work on the roof. 

_ 1496. ΖΔιαλεπτολογοῦμαι . .. . οἰχίας, I’m chopping logie 
with the rafters of the house. 

1503. *AspoBara. .... ἥλιον. Strepsiades is mimicking 
and repeating the speech which Socrates made to him, on 
his first introduction to the phrontistery, when the philoso- 
pher was suspended in the basket, prosecuting his lofty re- 
searches. 

1506. Ti γὰρ μαθόντ. Addressed to Socrates and Che- 
rephon. For the idiom, see ante, note to 1. 402. 

1510. μετρίως, enough. 


APPENDIX TO THE NOTKS. 


[The following references are to Goodwin’s “Syntax of the 
Moods and Tenses of the Greek Verb,” published in Cambridge, 
in 1865.) 


Verse 5. οὐκ ἂν πρὸ τοῦ. ὃ 42, 3, N. 2. 


6. 
11. 
924: 
24. 
35. 
38. 
41. 
55. 
63. 


(ae 
79. 
86. 
87. 
89. 
98. 
105. 
106. 
108. 
116- 


119. 
120. 


ἀπόλοιο. ὃ. 82. 

ῥέγκωμεν. § 85. 

φέρ᾽ ἴδω. ὃ 85, N. 1. 

ἐξεκόπη. § 83, 1. 

ἐνεχυράσασθαι. ὃ. 23, 2. 

καταδαρθεῖν. § 23,1. (Cf. ὃ 15, 2, N. 1.) 

ὥφελ᾽ ἀπολέσθαι. § 83,2. (Cf. § 49, 2, N. 3, ὃ.) 

ἔφασκον ἄν. ὃ 30,2. (Cf. § 37, 3, N.) 

προσετίθει. § 11,N. 2. So with ᾽τιθέμην, vs. 65. (Cf. ἐθέμεθα, 
vs. 67.) 

§ 50, 1. 

§ 52, 2. 

εἴπερ φιλεῖς. § 49, 1. 

πίθωμαι. ὃ 88. * 

ἂν (ἃ ἂν) παραινέσω. § 61, 3. 

ἦν τις διδῷ. § 51. 

μηδὲν εἴπῃς. § 86. (See vs. 1478.) 

§ 49, 1. 

οὐκ ἄν, εἰ Soins. § 42, 3, N. 2; and § 50, 2. 

118. ἣν μάθῃς, οὐκ ἂν ἀποδοίην οὐδ᾽ ἂν ὀβολόν. § 54,1 (0); 
§ 42, 3. 

οὐκ ἂν πιθοίμην. ὃ 52, 2. 

διακεκναισμένος (ΞΞΞ εἰ διακεκναισμένος εἴην). § 109,6; § 52, 1, 
(See vss. 689, 792, 1237, 1888.) 


224 


125. 
142. 
140. 
114. 
176. 
i8l. 


208. 


216. 
217. 
229. 


231, 
242. 


245. 
246. 
257. 


267. 


268. 
296. 


301. 
322. 
340. 
345. 
350. 
351. 
352. 
367. 
371. 


376. 
402. 
425. 


APPENDIX TO THE NOTES. 


εἴσειμι. § 10, 1, N. 6. 

ἥκω. § 10,1, Ν. 4. 

ἅλλοιτο. § 70, 2. 

ἥσθην. § 19, N.5. (See vs. 1240.) 

εἶεν, well ; properly a wish. § 82. 

ἀνύσας. 8. 109, Ν. 8. (See vss. 506, 635, 1253.) 

ἐπεί. 9. 90.,.8], 1: 

ἀπαγαγεῖν. ὃ 23,1; 891. 

οἰμώξεσθ᾽. § 25, 1, Ν. 6. (See vss. 811, 1352, 1499.) 

εἰ μὴ (sc. ἐξεῦρον). § 52,1. For κρεμάσας and καταμίξας, 
see § 109, 2. 

232. § 49,2; and Remark (8). 

ἔλαθες γενόμενος: ὃ 112, 2. For the Aor. Part. see ὃ 24, 
N..1. (See vs. 1079.) 

ὅντιν᾽ ἂν πράττῃ. § 61, 3. 

καταθήσειν. § 27, N. 1. 

ὅπως μὴ θύσετε (SC. σκοπεῖτε). ὃ 45, N. 7. (See vss. 489, 
824, 882, 1177, 1464.) 

πρὶν ἄν. § 67. 

τὸ ἐμὲ ἐλθεῖν 8104: Appendix TI. (See vs. 819.) 

ov μὴ σκώψης μηδὲ ποιήσης ἅπερ οἱ Tpvyodaipoves οὗτοι See 
§ 89, 2, with Notes and Remarks. [‘There is no good reason 
for emending the MSS. readings here to σκώψει and ποιήσεις. 


The analogy of the common form μὴ σκώψῃς would make 
οὐ μὴ σκώψῃς as natural as οὐ μὴ σκώψει.Ἶ 

ὀψόμεναι. § 109, ὅ. 

ὥστε. § 65, 3. 

τί παθοῦσαι. § 109, Ν. 7 (Ὁ). (See vss. 402, 1506.) 

ἅττ᾽ ἂν ἔρωμαι. § 61, 3. 

ἤκασαν. § 30,1. (See vs. 352.) 

ἣν κατίδωσι. ὃ 51. 

ἐγένοντο. See vs. 350. 

ov μὴ Anpnons. (A prohibition.) § 89, 2. (See vss. 296, 505.) 

χρῆν ὕειν. ὃ 49, 2, N. 3 (a). A protasis is implied: if i 
could do so. 

ὅταν. ὃ. 62. 

τί μαθών ; ὃ 109, N. 7 (Ὁ). (See vss. 340, 1506.) 

οὐδ᾽ ἂν ἀπαντῶν. ὃ 42, 8, N. 1. “Ay, like οὐδ᾽, belongs τὸ 
δυϊλεχθείην : ἀπαντῶν being the protasis: § 109, 6; 8 52, 3. 


420 


427. 


430 


434. 
439. 
441. 
443. 


466. 
484, 
486, 
489. 
494. 
499. 
505. 
506. 
509. 


512. 
520. 


535. 
560. 
579. 
586. 
589. 
614. 
- 618. 
631. 
635. 
668. 
680. 
689. 


694. 
702. 
716. 
725. 


121 


129. 


APPENDIX TO THE NOTES. 225 


§ 42, 4. 

6 τι δρῶμεν. ὃ 71. ὡς. § 81, 1. 

λέγειν. § 93, 2. 

ὅσα with Infinitive. § 93,1, N. 1. 

6 τι βούλονται (= εἴ τι βούλονται). § 61, 1. 

τύπτειν, κι τ A. § 97. 

εἴπερ διαφευξοῦμαι. ὃ 50,1, N.1. So im vs. 452, εἴ pe xa- 
λοῦσι (Fut.). 

ὥστε. § 98,1. 

485. § 51. 

λέγειν. § 91. 

ὅπως. See vs. 257. ὅταν. § 61, 3. 

ἦν tis τύπτῃ. § 51. 

φωράσων. ὃ. 109, 5. 

ov μή. § 89,2, Ν. 1. (See vss. 296, 367.) 

ἀνύσας. ὃ 109, N. 8. (See vs. 181.) 

For another explanation of ἔχων, see § 109, N. 8; and Liddell 
and Scott, 5. v. ἔχω. 

γένοιτο. ὃ 82. . 

νικήσαιμι, νομιζοίμην. § 82; and Rem. before § 12. οὕτως. 
§ 82, N. 4. 

ἣν ἐπιτύχῃ, an elliptical protasis. ὃ 53, N. 2. 

ὅστις γελᾷ (= εἴ τις γελᾷ). § 61, 1. 

ἣν ἢ, Uf there is ever, ὅζο. § 51. 

ov φανεῖν, κι T.. § 74, 1 (third example from the end). 

§ 74, 1 (first examples). 

μὴ πρίῃ. ὃ. 86. 

quik ἄν. ὃ 62. 

πρὶν μαθεῖν. 8 106; § 67. 

ἀνύσας. See vs, 181. 

ὥστε. § 65, 3. 

ἦν ἄν. § 52, 2. 

ἐντυχών (= εἰ ἐντύχοις). ὃ 109, 6; § 52,1. (See vss. 120, 
792, 1237, 1383.) 

ti dpa; § 88. 

ὅταν πέσῃς. § 62. 

μὴ ἄλγει. ὃ 86. 

ei. § 68, 3. 

728. §114,1 and 2. 

τίς ἂν ἐπιβάλοι. § 82, N. 5. 


920 APPENDIX TO THE NOTES. 


739. ὅπως ἄν. ὃ 44,1, N. 2. (See vss. 938, 1461.) On the other 
hand, in vs. 759, ὅπως is an indirect interrogative, and ἄν 
belongs to ἀφανίσειας. (So in vs. 776.) 

760. ¢ntnréov. ὃ 114, 2. 

769. τί δῆτ᾽ ἄν (sc. γένοιτο). § 53, Ν, 3. 

770. ὁπότε γράφοιτο, depending on εἰ ἐκτήξαιμι. ὃ 64, 1. 

776. ὅπως. See vs. 759. 

783. οὐκ ἂν διδαξαίμην. ὃ 52, 2, Note. 

792. μὴ μαθών (= ἐὰν μὴ μάθω). § 52, 1. (See vss. 120, 689.) 

798. τί πάθω; § 88, N. 2. (Cf. 8 109, N. 7, 3.) 

808. ὅσ᾽ ἂν κελεύῃς. § 61, 3. 

811. ἀπολάψεις. ὃ 25,1, N.5. (See vs. 1352.) 

819. τὸ Δία νομίζειν. 8 104. (See vs. 268.) 

823. μαθών. § 109,06. (See vs. 689.) 

824. ὅπως μὴ διδάξης. § 45, N. 7. (See vs. 257.) 

829. ἔχον. § 1133 § 73, 2. 

837. λουσόμενος. ὃ. 109, 5. 

838. ὥσπερ τεθνηῶτος (i. 6. ὥσπερ ἐποίεις ἄν, εἰ τεθνηὼς ἦν). ὃ 109, 
N. 3 (6). 

840. 8 42, 3. 

844 — 846. δράσω, ἕλω, φράσω. § 88. 

854,855. § 30, 2; § 62, Rem. 

870. § 50, 2. 

882. ὅπως μαθήσεται. § 45, N. 7. (See vs. 257.) 

887. ὅπως δυνήσεται. §45. Μέμνησο is used like ἐπιμελοῦ. (See 
vs. 1107.) . 

895. ποιῶν. § 109, 2. 

912. πάττων. ὃ 73, 2. 

938. ὅπως ἄν. ὃ 44,1, Ν. 2. (See vss. 739, 1461.) 

942. ὧν ἂν λέξῃ. 861, 3. 

965. εἰ κατανίφοι. ὃ 51. (So in vs. 970.) 

974. ὅπως δείξειαν. § 44,1; § 21,1. 

987. ἐντετυλίχθαι. § 18, 3, Note. 

1000. εἰ πείσει. ὃ 50,1, N. 1. 

1009. ἁγὼ φράζω. ὃ. 59. 

1085. εἴπερ ὑπερβαλεῖ. § 49, 1, Ν. 8. 
1049, πονῆσαι. § 23, 2. 

1056, 1057. 8.49, 2, Rem. (Ὁ). 

1067. σωφρονεῖν. ὃ 94. 


1079. 


1106. 
1107. 
1125. 
1129, 


1141. 


1151. 
1157. 
1172. 
1177. 
1183. 
1211. 
1227. 
1236. 
1237. 
1240. 
1252. 
1253. 
1255. 
1269. 
1277. 
1283. 
1301. 
1347. 
1352. 
1271. 
1377. 
1378. 


APPENDIX TO THE NOTES. 227 


ἣν τύχῃς ἁλούς. ὃ 112, 2. For the Aor. Part. see § 24, 
N. 1. (Seevvs. 242.) 

διδάσκω. ὃ 88. 

μέμνησο ὅπως. See vs. 887. 

ἀποκεκόψονται. ὃ 29, Ν. 2. 

1180. βουλήσεται κἂν ἐν Αἰγύπτῳ τυχεῖν ὦν, κι rd. The idea 
is, so that (in view of these threats) he will sooner wish that 
he might by some chance find himself in Egypt than (wish) to 
judge unfairly. The Infinitive with dy seems here to be 
used after βούλομαι, like the Future Infinitive after that 
and similar verbs (G. § 27, N. 2), as a sort of indirect ex- 
pression of the substance of the wish itself, which in the 
direct discourse would be, τύχοιμι ἂν ὧν ἐν Αἰγύπτῳ, I would 
Jind myself in Egypt (if I could). Compare ἐβούλοντο 
προτιμωρήσεσθαι, THuc. VI. 57. 

δικάσεσθαι (Cod. Paris. 2712). Vulg. δικάσασθαι: see 
§ 23, 2, N. 3. 

§ 63, 4 (a); § 54, 1 (a). 

§ 52, 2. 

idetv. § 93, 2, N. 3. 

ὅπως σώσεις. ὃ 45, N. 7. (See vs. 257.) 

ei μὴ γένοιτ᾽ ἄν. § 50,2, N. 2. 

ἡνίκ᾽ ἄν. § 61, 3 (or § 62). 

ἀποδώσειν. ὃ 73,13 § 27. 

ἀπόλοιο. See vs. 6. 

διασμηχθείς. See vs. 120. 

ἥσθην. § 19, N. 5. (See vs. 174.) 

ὅσον γέ μ᾽ εἰδέναι. § 100. 

ἀνύσας. See vs. 181. 

ζῴην. § 82. 

mempayort. ὃ 109, 4. 

προσκεκλῆσθαι. ὃ 18, 3 (a). 

δίκαιος ἀπολαβεῖν. ὃ 93,1, N.2. (See vs. 1434.) 

ἔμελλον κινήσειν. ὃ 25,2; with the notes. 

εἰ μή τῳ ᾽πεποίθειν. ὃ 49, 2, Rem. (0). 

δράσεις. See vss. 217, 811. “ 

ἐκίνει. § 70, 2, Ν. 1 (a). 

ὅστις. § 59, Ν. 2. 

τί σ᾽ εἴπω; ὃ 88. 


228 


1382. 


1383. 


1395. 
1398. 


1402. 
1408. 


1425. 
1433. 
1434. 
1436. 


1450. 


1458. 


1460. 
1461. 


1463. 


1464. 


APPENDIX TO THE NOTES. 


el εἴποις. ὃ 51, Rem. πιεῖν. $97. ἂν ἐπέσχον. § 30, 2. (See 
vss. 55, 855.) 

aitnoavros (= ei airnoeas). ὃ 52, 1. So, in vs. 1382, 
. εἰπόντος gov might have been used for εἰ εἴποις. (See also 
§ 42, 3.) 

λάβοιμεν ἄν. ὃ 54,1 (a). 

ὅπως δόξῃς. A pure final clause. § 44, 1. 

πρίν. § 106, N. 2. 

μέτειμι. § 10,1, Ν, 6. 

πρίν. § 106. 

εἰ δὲ μή; otherwise ; 1. 6. ἐὰν τύπτης. § 52,1, N. 2. 

See vs. 1283. 

κεκλαύσεται. § 29. 

ἐμβαλεῖν. We might have had μὴ οὐκ ἐμβαλεῖν after οὐδὲν 
κωλύσει. ὃ. 95, 2, N. 1. 

ὅντιν᾽ ἂν γνῶμεν. § 62. 

ἕως ἄν. § 66, 4 (example 1). 

ὅπως ἄν. ὃ 44,1, Ν. 2. (See vss. 739, 938.) 

§ 49, 2, N.3 (a). 

ὅπως ἀπολεῖς. ὃ 45, N. 7. (See vs. 257.) 


1478, 1479. θύμαινε, ἐπιτρίψῃς. § 86; and Rem. before ὃ 12. 
1489. 
1499. 
1506. ri μαθόντες. See vss. 340, 402. 


ἕως ἄν. § 66, 2. : 
ἀπολεῖς. ὃ 25,1, N.5. (See vs. 217.) 


METRES. 





METRES. 





[The references in the following Table are to Munk’s Metres of 
the Greeks and Romans, translated from the German by Beck and - 
Felton. } 


PROLOGUS, 1-274. 


Lines 1 -- 262, Iambic trimeter acatalectic, with comic 
license. See Munk, pp. 76, 162, 171, seqq. 

263-274.  Anapestic tetrameter catalectic. Munk, 
p. 101. 


CHORUS. 


Strophe, 275 -- 290 = Antistrophe, 299-313. Dactylic 
system. Munk, pp. 244 -- 246. 


ἀπ", ͵ δ OM: Ρ- 84. 


Gps ἀτὸ, τ ee ΘΝ ee RE. ST 
eet ee er eS a ae pO 

ἮΝ ρον ee | ee ee Ib 

SEE os Ee Be 85 

Bawa a 6 ως OT 38. - BL p. S6 
(Ree τ» συ ee Lb 

ie Be Se Ib. 

Ἐπ τὰ Be - Lb. 

το τ Se We ts ME p86 (3): 
ἘΠ. το Sees Be 90:8). 

th ας cy. sheet pechinn > ge) he Bie OOp 

[Me Say pos Cones oe Pe ᾧ Ὁ Lb. 

14. fw DELL 4 αν, trim; with anacrusis. 


M. p. 84. 
(231) 


ΘΝ METRES. 


291 -- 297. Anapestic tetrameter catalectic. M. p. 101. 
914 -- 458, Anapestic tetrameter catalectic. Lb. 
439 -- 450. Anapestic system. M. p. 246, seqq. 
BOT oD he oy ere NE pro 10). 
408, 2 = he eee, LE bi te). 
i at Be I Bees A NI ν οὐ ἘΠ ἈΝ 
460.104 ᾿Ξ Ithyphallic... M. p. 69 (3). 
LS AM O12) 40). 
wey toy dk > 2-- Dact. trim. cat. with anacrisise 


~ 


~ 


CY ἀ ἐκηῦθοιν το ἐδ | ae ee p S243) poeta). 
B09; SOO Pare OU ee eS M. p. 96 (c). 
AGT, θθεν ας. αὐτο ae, SH ia cee αν ΝΥ 
83 (2); p. 96 (c) 
ALO. SiS ig ed ht A ΚΑΙ eae 
Begin LS aol pa δὴ εἴ δες aE gy, 17 0) ae 
RTDs oh a od oe το Die τ ke ee ae 


476,477. Anapestic tetrameter catalectic. M. p. 101. 
478 — 509. Iambic trimeter. 


PARABASIS, 510-626, 


T. Κομμάτιον, 510-517. II. Παράβασις proper, 518-562. IIT. 
Μακρόν or πνῖγος, wanting. IV. ᾽Ωιδή, 563-574. V. Ἐπίρ- 
ρημα, 575-594. VI. ᾿Αντῳδή, 595-606. VIL. ᾿Αντεπίρρημα, 
607-626. See Munk, p. 336. 


510._ <2 —— 41. Anapestic. —M.-p.-98, 100 @). 
pits τς ML 99 (a); 

515... .ὺ.... pees Mp. 129; séqq.5 5: ΤΙ aye 
Sipe ae 1}. Ib. 

516: oa, ὁ σεν ἃς Tb. Ib. 

ra Is abe Ὁ rami Det 5: Ib. Ib. 

518: s(8) 88 Jr Uh nV i cae apy: 

517. ἢ l= 


518 -- 562. Eupolidean metre, consisting of a double basis 
and a choriambus (i. 6. a polyschematist Glyconic, 
M. p. 135), followed by a double basis and a cretic. 


peels: =) ME, πῇ; 


—_ --’; =—- ..’ 


Sapa Pa |p ee Le 


METRES. 233 


Strophe, 563 —574 = Antistrophe, 595 -- 696. 


a5 2. τες ες SChoriamb.  dimeter. 
3. ee Pr 7S do. catal. 

4. ἘΤΥ pine) amine ee  Βδεεδα, 
δ. τσ moet ote 


Chor. tetr. catal. in amphibrachyn. 
Dactyl. tetrameter. 
Dact. pentam. 


ΘΟ δ δ. ΠΕ ens aaa 


8. ΠΕ το ον Polyschemat. Glyc. M. p. 135. 
"Δ any le τὸ κὰνι ΕΣ ΟΝ, do. 
10. PS es pe Glyconic. M. p. 134. 
id Ἢ Sat Pie ἀνθ Pherecratic. M. p. 192. 
575 —594, 607 -- 626. ‘Troch. tetr. catal. M. p. 68 (d). 


627 ~ 699. Iambic trimeter. 


CHORUS. 


Strophe, 700 — 705 = Antistrophe, 805 — 810. 


δ ie ei! ae Aa Re ees ee Pe ee 

ἘΠ: en aes cere hs Pe 8 OFC ie 

SS fC be ule Mp. 95. @), with anaes. 

ἘΠῚ ευστιεν ον ΒΕ (Ὁ, 

πε ee | Bf ρα 
POG Se A pe Fob). 


107. 4 | 2 ΒΕ ppia2s, 126. 

709, 710. Iambic trimeter. 

711-722. Anapestic system. 

723 — 803. Iambic trimeter. _ 

Sli. oR Sepa o=- MM. p..143-(). 

δι, σε ete oe 1ς δὲς Choriamine 
tetrameter catal. in amphibrachyn. M. p. 145 (4). 

814 -- 888. Iambic trimeter. 

889 -- 948. Anapzestic system. 


294 METRES. 


CHORUS. 


Strophe, 949 - 958 = Antistrophe, 1024 — 1033. 

1. Spee πα ee ee ee Ιν 

2. ἐ Tare on OY πὸ ον Ὁ ΙΝ τ. 

3. The metre is uncertain, as the text of this verse is 
corrupt in the Antistrophe, perhaps also in the 
Strophe. 


A 
ead 


957 — 1008. Anapestic tetram. cat. M. p. 101 (d). 
1009 -- 1023. Anapzestic system. 
1094 -- 1084. Tambic tetram. cat. M. p. 78 (d). 
1089 -- 1104. Iambic system. M. pp. 249, 244. 
1105 —1112. Iambic trimeter. 
~ 1113, 1114. Iambic dimeter and Ithyphallic : — 


1115 -- 1180, Trochaic tetrameter catalectic. M. p. 68 (d). 
1131 -- 1153. Iambic trimeter. 


115A. ee Se a ee ΘΙ, ee 

i bt bo) Pah απ ἢ Bn ar 10. 

WES) Re Sea τὶ τ νον, ain. Tig gta Iambic trimeter. 

1 By a ing melting AI al) Bet hs τς ᾿ 

1178,..ς τ τ ΟΝ "64. 15): 

4109: τς οι ὌΝ Ib. 

1160. _ 24% — 425) Anapeestie, 

1161, 1162. ε  θϑΘῸ ree Jab eet: 
1108... 4A | —- 4 — «Dosh, dim. BM. 9. 11776. 
1164, φρο τ ee aie ον ον 
1165. ἐσσέον » Ju 41 Anapestic dimeter. 

LL GOs uo of OM. p. Rd (2). 

11676) i thoi 89 A?) f8)- 


1168. 2 So 88 ee 
160. 2402045 Mipsis 


METRES. 235 


.1171 — 1205. Tambic trimeter. ἡ 


1206. _.. +4 | 20 2¥-~ Dimeter Ionicus a minore catal. 
M. p. 150. 

1207. _, + -—|+« 2W~ Cretic dimeter with anacrusis 

Rr τ τε ἈΠ ΝΣ ἘΝ “ + 

i Pre ane DN αν AC « « 

1210. _ 1. — JIambic dipody. 

1 ee a eS ty Eamiie.dameter 
and Cretic dimeter. M. p. 111 (2). 

13t2: wer Re aaa yen | Oh Bl eo AF Se: Iambic dimeter 


and Ithyphallic. M. p. 69 (9). 
1214 -- 1902. Iambic trimeter. 


CHORUS. 


Strophe, 1303 -- 1310 = Antistrophe, 1311 -- 1320. 
1. Iambic trimeter. 
2. Text doubtful. 


τε εξ, - lgmine dimeter 

νος Beasties Oe pea 6 ( 

Ἔρος ay eae « “ 

6. oi 41 — Trochaic dim. eatal. M. p. 65 (b). 

7 £0—~<=|| + - ~, + — — Trochaic dipody and Cretic 
dimeter (last two syllables in the Strophe 
wanting). 

8. Iambic tetrameter cat. (first syllable in the Strophe 
wanting). . 


1322 — 1344. Iambic trimeter. 


CHORUS. 


Strophe, 13845 -- 1850 = Antistrophe, 1391 -- 1396. 

Verses 1, 3, and 5 are Jambic trimeters. 

Verses 2, 4, and 6 are Dactylic dimeters with the anacrusis : 
Sew re Μὲ mp 85: 


296 

1951 -- 1884. 
1980 -- 1390. 
1391 -- 1396. 
1397 — 1440. 
1446 — 1452. 


1453 — 1509. 


METRES. 


Tambic tetrameter catalectic. 
Iambic system. 

Antistrophe to 1545 -- 1350. 
Iambic tetrameter catalectic. 
Jambic system. 

Iambic trimeter. 


1510. Anapestic tetrameter catalectic. 


THE END. 


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